Class
Book
COPYRIGHT DEPOSIT
Scanned from the collections of The Library of Congress
Packard Campus for Audio Visual Conservation www.loc.gov/avconservation
Motion Picture and Television Reading Room
www.loc.gov/rr/mopic
Recorded Sound Reference Center www.loc.gov/rr/record
??H
A Date with Clark G Don Ameche's Confessi<
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NEW COAST'TO'COAST* NAIL POLISH COLOR SENSATION
Joan Bennett, Charming Star of "I Met My Love Again," a Walter Wanger Production.
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GLAZO
SAYS JOAN BENNETT
GLAZO'S J/i
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...AND MEN CAN BE SUCH
(Pot? (a I 1*1
AWFUL GOSSIPS TOO /
Let's face the truth about UNDERARM PERSPIRATION ODOR
MEN DO talk about girls behind their backs— although they won't admit it. Is a girl pretty, a good sport, a smooth dancer? The answer quickly goes the rounds!
They talk about other things, too. About the girls they hate to dance with —the girls they simply won't take out. For a girl must be more than pretty and smart. She'll never make a hit with men unless she is truly sweet— nice to be near.
Unpopularity often begins with the first hint of underarm odor. This is one fault that men can't stand — one fault they can't forgive. Yet any girl may offend this way, if she trusts her bath alone to keep her fresh!
Smart girls— popular girls— don't take chances! They know a bath only takes
care of past perspiration— that they still need Mum, to prevent odor to come.
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MUM IS SAFE! Mum does not stop health- ful perspiration. Even after underarm shav-
ing it never irritates the skin. And Mum is completely harmless to fabrics— safe to apply even after you're dressed.
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HOURS AFTER YOUR BATH MUM STILL KEEPS YOU SWEET
Mum
TAKES THE ODOR OUT OF PERSPIRATION
SCRE ENLAND
3
' Oi. D o / * c o c
APR -6 1938
The Smart Screen Magazine
Delight Evans, Editor
Elizabeth Wilson, Western Representative
Tom Kennedy, Assistant Editor
Frank J. Carroll, Art Director
8SDo It Again, Honey— Or I'll Pop You In The Nose!"
—Said Director Woody Van Dyke to Norma Shearer
And what did she say? The famed First Lady of the Cinema popped him in the nose and said: "Just to prove I'm not afraid of you, honey!"
That's just a sample of some of the gay, colorful, dramatic, intense, hilarious hap- penings on the set of "Marie Antoinette," Norma Shearer's "return" picture. Tyrone Power, John Barrymore, Reginald Gardiner are among the picturesque gentlemen ap- pearing with Miss Shearer — but the most picturesque of all is "Woody" Van Dyke, Hollywood's frankest and most fearless di- rector. Everyone stood off and watched on the first day of Norma's return to the studio — would there be fireworks? How would the star react to Director Van Dyke's devastat- ingly candid style? Well, there was the ex- change of banter described above, hard work, lots of good will — you'll enjoy Ida Zeitlin's account of the making of this im- portant picture, in the June issue of The Smart Screen Magazine.
The next issue will also present among other features a novel article called "The Hollywood Barometer," discussing the amaz- ing fact that the movie-makers must be able to read the future, to predict social and economic trends, to say nothing of make-up and hair styles. How do they do it? You'll be interested in the answer. More frivolous, perhaps, but just as widely appealing is the feature, "Three Hollywood Glamor Girls Tell How They Got That Second Date" — crammed with useful advice to girls who would be popular, from girls who are among the most popular in the world. In fact, start- ing right off with the stunning fashion-wise cover of Bette Davis, the June issue of Screen land, on sale May 6th, is as fresh and spontaneous as Spring itself.
May, 1938 Vol. XXXVII. No. I
EVERY STORY A FEATURE
The Editor's Page Delight Evans 15
A Date With Clark Gable May Mann 16
What Stars Are Slipping— And Why? Gladys Hall 18
Screenland Snoop. Robert Taylor-Barbara Stanwyck Romance
Liza 20
Tops on Credit — Low on Cash Temple Crane 22
Don Ameche's Confession of Faith Reginald Taviner 24
Animal Actors Draw Star Salaries Gordon Barrington 26
Stars Over Europe Hettie Grimstead 28
Delayed Discovery. Cesar Romero. Martin Somers 29
"Bloody But Unbowed" Elizabeth Wilson 30
Autograph Menace Rouses Stars Charles Darnton 32
Crazy About Radio. Andy Devine Whitney Williams 34
Glamor Master. Ernst Lubitsch Maude Cheatham 51
Reviews of the Best Pictures Delight Evans 52*
In Person. Judy Garland Tom Kennedy 54
Even Snakes Have Charm. Fiction Frederick Stowers 55
Camera Record of Errol Flynn's Adventures Ruth Tildesley 58
Screenland Glamor School. Edited by Loretta Young 60
Hollywood Fashions 62
For More Than Money. Spencer Tracy S. R. Mook 64
SPECIAL ART SECTION:
Answer to Eddy Fans. Nelson Eddy. Step Right Up to Ginger's Soda Bar. Ginger Rogers. Come and Call on Andrea Leeds. Jest For You. Perfect Specimens. Simone Simon, Betty Grable, Dorothy Lamour, Shir- ley Temple, Alice Faye, Claudette Colbert, Carole Lombard. Playlets in Pictures. Anita Louise's Success Story Told in Pictures. Selected for Stardom. Joyce Matthews, Olympe Bradna, Arlene Whelan, Dorothy Belle Dugan, Frances Maclnerney, Louise Campbell, Richard Greene. The Most Beautiful Still of the Month. She Walks in Beauty. Olivia de Havilland.
DEPARTMENTS:
Screenland's Crossword Puzzle Alma Talley 6
Tagging the Talkies. Short Reviews 8
Honor Page '0
Inside the Stars' Homes. Marie Wilson Betty Boone 12
Here's Hollywood. Screen News Weston East 66
Adventures in Perfume. Beauty Courtenay Marvin 70
Yours for Loveliness 'I
Cover Portrait of Deanna Durbin by Marland Stone
Published monthly by Screenland Magazine,
Inc Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
ber 30 1923, at the Post Office at New York, N. Y. under the act of Magch 3, 1879. Additional entry at Chicago, Illinois.
Copyright 1938" by Screenland Magazine, Inc. Member Audit Bureau of Circulations. Printed in the U. S. A.
4
(he Screen, wi s', bring you your nerves
(
Laughter too ... as Clark makes Spencer act as Myrna's stand- in! Spencer's willing but not able... if you get what we mean.
SCREENLAND
a
DANDRUFF ITCH?
Use This Antiseptic Scalp Treatment
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1. Massage head for 3 minutes with this Zonite solution. (This gives hair and scalp an antiseptic cleansing — stimu- lates scalp— kills all germs at contact.)
2. Lather head with any good soap shampoo, using same Zonite solution. ( This cuts oil and grease in hair and scalp— loosens dirt and dandruff scales.)
3. Rinse very thoroughly. (Your head is now clean — your scalp free from scales.)
4. If scalp is dry, massage in any preferred scalp oil. ( This relieves dryness.)
RESULTS: By using this simple antiseptic shampoo treatment regularly (twice every week at first) you do what skin specialists say is necessary, if you want to rid yourself of dandruff itch and nasty scalp odors. We believe that if you are faithful, you will be delighted with results.
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U. S. A.
SCREENLAND'S Crossword Puzzle
By Alma Talley
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1.
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19. 0. 21. 22 24'. 26.
ACROSS She's famous for slavery roles Skating star of "Happy Land- ing"
He's featured in "Danger Pa- trol"
Co-star of "Knight Without
Armor" Negotiate
He's featured in I 11 Take
Romance' ' Star of "Sally, Irene and Mary Actor's representative Depart Small rug Norse legend English title
"The Bride Wore — ", with
Crawford "A Day — The Races", with
Marx brothers What a star signs a contract with
Prefix meaning three Myself ,, "Adventures — Tom Sawyer "Thin — ", with Sonja Henie True
Vegetable Toward
She stars in "True Confession Cleaning implement Wall painting
. Smears
. Where Tibbett, Pons, Swarth-
out became famous . To rub out . Ant
. To pester
. Co-star of "Second Honey- moon" . Eastern state (abbrev.) . He played in "Hollywood Ho- tel", just before he died . He's married to Ruby Keeler . A kind of whiskey . Printers' measure . " — Happened One Night" " — Tide", with Frances Farmer
The United States (abbrev.) " — Time to Marry", with Richard Arlen
73. 75.
76. 78. 81. 83. 85. 87.
89. 90. 91. 92.
9. 10.
11. 12. 13.
14. 17.
23. 25. 28.
31-
32.
33. 35. 37.
39
Paddle
His most famous role is
"Dracula" A game played on horseback To put down Dismal Moving about
Star of "I'll Take Romance" Her new one is "The Joy Of
Loving" The father in("You're Only
Young Once" Paths To darn
Nelson Eddy's voice is this Finishes
DOWN Famous Paul Muni role of 1937 The ingenue in "Tovarich" Pouch or cyst Indians of a certain tribe " — Door", a Rogers Hepburn film
Musical instruments Born
Co-star of "A Star Is
Born" Rose petal oil Cowboy star husband of
Clara Bow Before
Conscious of "Merrily We — ", a
Constance Bennett
film
An obstruction in water He's featured in "Ha- waii Calls" Mimic To tear
He's famous in opera,
radio, and movies She's co-star of "A
Yank At Oxford" Old times (poetic) Covered with foam Social status . Last letter of Greek
alphabet . He plays Captain Lock- yer in "The Buc- caneer"
40. One of the five senses
41. City in New York
43. Silent (slang)
44. Co-star of "Happy Landing
46. Either
47. Chum 49. A rodent
52. Ma's husband
57. Spoken „
60. Co-star of "Wells Fargo
62. She was featured in "Artists
and Models" 65. She was good in The Awtul
Truth"
67. Explosion
68. To sew loosely 70. More tender
72. Charlie Chan
73. Not even
74. A flower (the wake-robin)
75. Raised
77. To look at flirtatiously
79. High playing cards
80 A yes-man's favorite word
82. Leading lady in "The Patient
in Room 18'/ 84. Measure of weight 86. Hurried
Answer to Last Month's Puzzle
^g^ZONITE Is 9.3 Times More Active
than any other popular, non-poisonous antiseptic— by standard laboratory tests
6
SCREENLAND
at
1
dot
APPEARING IN COLUMBIA'S
"THERE'S ALWAYS A
59
WOMAN
W«*FaCZ beauty of ^ on--
M«x Ff0 Harmon shadC yout color harm
liUg^e ^cause the ,oVeUness be ^
easily- -5°^
11 , ,ut)t,lndelibk | M^F^f0rvourcolorbar-
UPSO*g iVldtama«« 'SaaaUunng
.Ave your powder, rouge and lipstick in color harmony to accent the natural beauty of your type, then you'll have the real secret of make-up," is the advice of Hollywood's famous screen stars.
Whether you are blonde or brunette, brownette or red- head, there is a particular color harmony make-up for you, created by Max Factor, Hollywood's make-up genius. It consists of harmonized shades of powder, rouge and lip- stick that will actually do wonders in making you look more attractive, more beautiful.
So discover this make-up secret of the stars today... share the luxury of color harmony make-up now available at nominal prices. Note coupon for special make-up test.
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4-5-41
NAME
STREET
SCREENLAND
7
"AFTER A MATINEE of my latest Broadway show, a friend brought his sister to my dressing room to see me . . .
"GIRLS MUST LOOK their best to win success. Although pretty, her lips were rough and dry. When she asked my advice about her career . . .
"SHE WANTED TO BE an actress- was understudying the star in another play. She had talent, but . . ."
"I TOLD HER that I thought she would benefit by using a special lip- stick praised by many stage and screen beauties. Later she phoned me . . . "
AGGING
the
TALKIES
Delight Evans' Reviews on Pages 52-53
The story doesn't count anyway in this sort of eye and ear entertainment, so it's no matter that only the title bears resem- blance to the stage play and later the film of the name. It's singing and romancing by Alice Faye and Tony Martin ; humor by Fred Allen ; added attractions by Jimmy Durante, Joan Davis, Marjorie Weaver, Louise Hovick and Gregory Ratoff that make it a generally pleasing musical show.
Magnificently produced, this stark and brooding narrative holds interest more be- cause of its seemingly authentic portrayal of life in a remote Ohio community just prior to and during the Civil War, than by the heart -interest dramatics of a story concerning a clergyman, his self-sacrificing wife and an ungrateful son; impressively played by Walter Huston, Beulah Bondi and James Stewart, respectively. Good.
Wedding bells seem doomed not to ring for Richard Arlen, reporter, and his bride- to-be, Mary Astor, also a reporter, because Dick is ordered to get two goats promised as an Xmas gift to his son by Dick's boss. Melodrama (a missing heiress, kidnappers in the background, etc.), enters to com- plicate matters. Lionel Stander does well as the news cameraman. The spirit to be gay is strong, but the material is weak.
HELLO, MR. LUKAS! LAST NIGHT I MADE A BIG HIT IN THE STAR'S ROLE! AND I GIVE CREDIT FOR MY PERFORMANCE TO THE KISSPROOF
LIPSTICK YOU TOLD ME ABOUT. ITS BEAUTY-CREAM BASE KEEPS MY LIPS SOFT AND SMOOTH-GAVE ME CONFIDENCE BY MAKING ME
LOOK MY BEST!
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SCENARIO BY PAUL LUKAS
8
SCREENLAND
Her Jungle Love
Paramoun)
A fantastic return trip to the South Seas after the "Hurricane." You find, and it's no mean treat, Dorothy Lamour, serenely alluring in her sarong amidst Technicolor surroundings, where Ray Milland discov- ers her when his plane crashes. You can well believe the natives think Dorothy a "goddess," even if the typical serial plot convinces you of nothing else. A weird play but an occasionally entertaining show.
Hawaii Calls
RKO- Radio
Certain to be a huge success with the younger section of the picture-going world, this is a vehicle for Bobby Breen and his vocal talents. It is a "boy" story, with Bobby and his pal, Pau Lani, as newsboys who stow away on a liner bound for Hawaii. Trying to escape "deportation" they are instrumental in the defeat of a plot to steal Navy defense plans. Ned Sparks adds the comedy. Songs, scenery, and action for you.
The
Baroness and the Butler
20th Century- Fox
Worth while for William Powell's slick and sprightly portrayal of the butler who becomes a political power in his native Hungary on a platform opposed to that of his statesman-employer. The doings have a sophisticated air, but the appeal is wholly sentimental. Its most appreciative audiences will be the grownup ladies. Annabella, we regret to report, is unhappily cast as the baroness. Diverting much-ado-about nothing.
Bringing Up Baby
RKO- Radio
A five-ring fun circus, with Katharine Hepburn as a gorgeously goofy girl chas- ing the man she loves — Cary Grant, who does a grand job as the scholarly zoologist torn from his museum, and the girl he thought he'd marry until Susan decided otherwise. May Robson, Walter Catlett, and Charles Ruggles lend fine support. A baby leopard and Skippy the dog are swell. The gags, not new but good, come fast.
WHEN WORK PILES UP
...the use of chewing gum helps lessen fatigue, im- prove alertness and men- tal efficiency.
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Always worth stopping for
SCREENLAND
"CHEW WITH A PURPOSE"
The use of chewing gum gives your mouth, teeth and gums beneficial exercise. Beech-Nut Oralgene is specially made for this purpose.It's firmer, "chewier". ..helps keep teeth clean and fresh looking.
BY THIS time you must have read a good many stories about the discovery of Tommy Kelly, 12-year-old boy from the Bronx, New York, selected from several thousand other boys all over the country to play in the picturization of Mark Twain's classic. That isn't news any more — but what is news, good, exciting news, is that Tommy comes through! He justifies pro- ducer David Selznick's 'faith in h by giving a rarely radiant perf or ance of the immortal Tom. Of cou we credit director Norman Taui for bringing out young Kelly's a ing talents ; but the boy himself ra the lion's share of applause a praise for his whole-souled natur ness, his keen intelligence, his i failing eagerness to please. Tommy Kelly, we think, has won a definite place on
SCREEN LAND
Page
onor
To Tommy Kelly, deservedly a star in his very first picture, "The Adventures of Tom Sawyer" -embodiment of the best in wholesome boyhood
the screen, risrht
up
there
somewhere alongside Selz- nick's other discovery, Freddie Bartholomew.
Mark Twain would have liked Tommy Kelly in the role of Tom Sawyer! Left above, the boy himself. At top on our panel of pictures, Tommy with Ann Gillis, the delightful fiecfcy Thatcher of the film. Next, the Kelly family salutes Director Taurog: mother and father Kelly, Tommy, and June, "baby sister" — all now in Hollywood. Left, hilarious interlude: David Holt as Sid, with Tommy in the classic scene of the white- washing of the fence.
10
NOW AT POPULAR PRICES! DIRECT FROM ITS $2.00 TWO-A-DAY TRIUMPHS!
TYRONE
ALICE
DON
POWER • FAYE • AMECHE
ALICE
Watch for it soon at your favorite motion, picture theatre.
BRADY • DEVINE • DONLEVY
Phyllis BROOKS • Tom BROWN • Sidney BLACKMER Berton CHURCHILL ■ June STOREY • Paul HURST
Directed by HENRY KING
Associate Producer Kenneth Macgowan • Screen play by Lamar Trotti and Sonya Levien • Based on a story by Niven Busch • Music&LyricsbyGordon&Revel.Pollack&Mitchell.
SCREENLAND
11
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The make-up improvement that has proved a sensation
Iry Luxor Powder. It's light- proof. Your face won't shine. Try it! We will send you a box for a DIME.
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Seeing is believing
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nsicle
Sparkling comedienne serves a sparkling Spring salad! Read all about Marie Wilson's ideas for entertaining with a sense of humor.
T
ne Mars
Come to Marie Wilson's Spring Luncheon, for food and fun!
omes
By Betty Boone
TWO thousand fan letters a month have put Marie Wilson into second place in Warner Brothers Studio fan mail (first place held by Errol Flynn). But Marie's fans don't stop with letters; they send her gifts — flowers, trinkets, "ornaments, things to wear, quilts, pets, and paintings. Her house on the hills of Hollywood is full of mementos from admirers who have seen her in pict res. Her mother complains (proudly) that a body can't step out of the front door without falling over a pack- age for Marie.
"This little gold locket came yesterday, said Marie, touching a dainty circlet at her throat, "and the bunch of lantern flowers in that vase arrived this morning. These lovely wooden plates, salad bowl and servers were sent last week and I'm so thrilled! It's like having Christmas or birthdays all the time."
The house, which shelters not only Mane, but Marie's mother, stepfather, grandfather and two young brothers, is "Hollywood
Spanish," with arched windows and heavy doors equipped with huge bolts and latches, a massive fireplace in the living room, complete with andirons, iron kettle on a swinging stand, great piles of wood, and the sort of substantial, comfortable furniture that can stand up under family wear.
"The nicest thing about it is the sky patio," bubbled Marie. "It hangs 'way up over Hollywood where we can see the lights at night, and get all the sunshine we want by day, and yet it's sheltered by the walls of the living room, breakfast room and the bedroom wing on three sides.
"We have a string of lights out there in case we want to play games or read at night, and we often drag the table out when the day is so grand we can't resist eating in the open."
Marie had her soft hair pulled back at each side and tied with ribbons, reminding me of little girls of yesterday, and accent- ing her eerie resemblance to the late Jean Harlow.
12
SCREENLAND
"I won a contest three years ago for the girl who looked most like Jean," confided my hostess. "I came up from Anaheim, California, to get the award — and do you know I made up my mind to get into pic- tures then? So I came and brought the whole family !
"I've cooked ever since I was able to manage an oven. My mother believed that every girl should know all there is to be known about housekeeping, so I was taught to do it all right. Other people may run a
Marie, left, ices her very special salad dressing. Below, she relaxes on the lerrace of her hill-side home.
mop around the room but zve had to get down and carefully wash in the corners. No picking up something and dusting under it and then picking up something else and flicking the duster there — we had to take everything off first, then dust, and then put thing's back ! You can eat off Mother's floors any time !
"Today we're having a very simple luncheon — salad, souffle, and fruit with little cakes.
"Let me tell you of a trick I just learned: When you have mixed your salad dressing and are almost ready to put it into your salad, you take a cube of ice and drop it (Please turn to page 81)
* [Stocking Appeal]
They couldn't help noticing Betty's great big RUN •••
Poor betty! Just as she
had captured the two most at- tractive men in the room, that awful run had to pop. It made her look so dowdy . . . killed S. A.*
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Even your best friend won't tell you
: S". .
EDNA was simply crushed by - Charlie's curt note barren of explanation. True, she and Charlie frequently had "lovers' spats," but these were not enough to warrant breaking their engage- ment. Disheartened and puzzled, she sought Louise, her best friend. Perhaps she'd offer some explana- tion. Louise could, too; could have related in a flash what the trouble was . . . but she didn't; the subject is so delicate that even your best friend won't tell you.
HOW'S YOUR BREATH TODAY?
You may be guilty of halitosis (bad breath) this very moment and yet be unaware of it. That's the insidious thing about this offensive condition; you yourself never know when you have it, but others do and snub you unmercifully.
Don't run the risk of offending others needlessly. You can sweeten your breath by merely using Listerine Antiseptic, the remarkable deodorant
with the delightful taste. Rinse the mouth with it every morning and every night, and between times before business and social engagements.
As it cleanses the entire oral cavity, Listerine Antiseptic kills outright millions of odor-producing bacteria. At the same time it halts the fermen- tation of tiny food particles skipped by the tooth brush (a major cause of odors) then overcomes the odors themselves. Remember, when treat- ing breath conditions you need a real deodorant that is also safe; ask for Listerine — and see that you get it.
If all men and women would take the delightful precaution of using Listerine, there would be fewer brok- en "dates" and waning friendships in the social world — fewer curt re- buffs in this world of business.
Lambert Pharmacol Company St. Louis, Mo.
LISTERINE
Checks Halitosis (Bad Breath)
11 Y IN THE
OVSES ?
POWDER IN THE FORM OF DENTAL CREAM
WATCH your dentist next time he cleans your teeth. Note how he makes his powder into a paste.
Similarly, for your convenience we "cream" the safest dental powders into a paste, which is easy to put on the brush.
You get the cleansing power of powder . . . in modern form . . . when you get Listerine Tooth Paste. It keeps your teeth sparkling and lustrous. Cleans and polishes them to gleaming whiteness.
No wonder it is the favorite of glamour girls who live by their smiles.
14
SCREENLAND
An Open Letter to Jack Benny
D
EAR Jack Benny:
I've owed you this letter for a long time, whether you know it or not. But every time I sat down to write I got big, red letters before the eyes, the shrill notes of The Bee would ring in my ears, and I would have to go away and lie down. After all, I'd tell myself, who am I to try to tease the master heckler of all time? Play, Phil. Sing, Kenny. Heckle, Benny. But then again, and after all, my boundless admiration for your wit, your charm, your infectious humor lures me into leading with my chin, forgetting what you did to Robert Taylor, and, as I'm doing, finally writing and posting this to the star of the radio program with the highest rating ever achieved — H'ya, Andy?
All heckling to one side, I remember our lunch that time, when you arrived late and a little weary, and in no mood for cross-talk. You had been struggling with your weekly radio program and you looked it. You were hailed and hello-ed again and backslapped and handshaken — everything, in fact, but the hot foot — on what amounted to your triumphal progress into the hotel restaurant. Genial, easy, casual, with the charm turned on, you made your entrance, a great Broadway figure, a star, a Success. Then you sat down — and the ebullient Jack Benny turned into a tired workman worrying about the job at hand. It was no pose. It was a serious thing. You were con- fronted with the task of whipping up a new script practically over-night because the script which was all ready to broadcast had to be killed. Why? Because it was based on the comedy of school-days — and only yesterday a tragedy had snuffed out the lives of school-children and sickened America. Of course you could have saved that script somehow. Some showmen
would have glossed over it. Not you. It struck at your heart. "Imagine me being funny when mothers and fathers are mourn- ing," you said. So you had been at it for hours at a stretch, wheedling and cajoling shiny new gags out of the air, in time to go on the air and amuse a nation. Well, it gave me a new angle on you, Mr. Benny. I had planned to try to get a slant on solving the Jack Benny Movie Ban Mystery, or, Why the Number One Radio Comic does not Click Big in Pictures. But it didn't seem timely, somehow. Your answer, when I asked you why Jack Benny can't get what he wants to do in a Hollywood studio — a chance to create a real character, as he has done on the air — you merely shrugged, but it was an eloquent shrug which said more clearly than words that a great entertainer in one field can't always write his own ticket in another.
So let me suggest something. Hollywood has done more to you than for you, so far. And I think it's mostly Hollywood's fault. It has a way of forgetting that there is a world of real people outside its borders. These people love to listen to Benny broadcasts be- cause they meet a man whose very voice expresses friendliness, good cheer, and humor. I'm sure that they would like to meet this same man on the screen. So far they haven't. The movie Benny is a glib, facile, clever chap, but a bit too self-assured, too polished, perhaps, for everyday tastes. It's that Hollywood touch. And now it seems to be creeping up on that highest-rated radio program. Studio audiences must love those Santa Anita and "unusual weather" jokes, they laugh at them so often, and so loud. But some of the rest of us are beginning to yearn for the good old days when Buck Benny was riding. I know, when I asked you why you didn't keep on with the Buck Benny series, you replied rather pityingly that after all, audiences want something new once in a while. But they still want it with that common, down-to- earth touch, as opposed to the Hollywood professional touch, which is often smarty and self-conscious. You're a great showman. I think you have a sneaking ambition to become a really great movie star. Screen fans like sincerity, simplicity; we go for Gary Cooper, Snow White, and Shirley Temple. They're always in season. So should you be. Sing, Benny.
15
Clark meant it when he gave that fa- mous smile, as above, and indicated he'd like to make a date. He proved it by phoning May Mann to set the time, and meeting her promptly — see Miss Mann responding to the Gable grin in our big picture, center. At lower right on opposite page, Clark signs his auto- graph for the girl he "dated," and now
i r
read her story of the date!
OF COURSE there isn't a girl who would need the slightest urging or a second bid to accept a date with Clark Gable. If Clark suggested horse-back riding, the girl would agree and rustle riding pants and boots, even if she'd never been closer to a horse than on the grandstand at Santa Anita. Or if Clark were at Sun Valley or Yosemite in winter, and he said: "Let's go skiing!" a girl would brace herself for a dozen spills and a probable broken neck rather than admit she wasn't athletic, and lose out on "a date with Clark Gable !" Should such an opportunity present itself, she would most likely give her arm a good pinch to see if she were awake or just delirious in the middle of a dream. And that girl might be one of Hollywood's top-flight stars, a secretary at the studio, or a girl behind the counter in a department store. And the date might be a ride around the block in Clark's sixteen-cylinder Packard roadster, or dinner and dancing at the Trocadero. Even though the Gable dates are pretty well written clown on Carole Lombard's calendar, Clark is still eligible enough. And though the chances of any mere Miss being dated by Gable when there's the glamorous Lombard in the offing, one never can tell when circumstances might be just right, and
16
Here's one girl's thrilling experi- ence of an actual "date" with the gallant and much-sought-after Gable himself
By May Mann
spondent into the Clark Gable Movie Fan class. I was not a little confused as I tried to explain the nature of the interview, and kept thinking how faultless were his gray tweeds, the dull green shirt and matching tie of soft wool, and how remarkably well the coat fit on his broad shoulders. Clark wears clothes with a careless grace, seemingly unaware of his sartorial elegance.
"Please understand, Mr. Gable, I don't want a date personally, I just want to write how it would be — " and then I hastened to add : "Of course I don't mean it wouldn't be nice to have a date, but I assure you I don't expect one, and this is all business." (And I felt myself blushing, actually.)
Clark just grinned at me, having a lot of fun at my expense, and suggested we go over to a quiet corner and talk. He soon placed me at ease by relating some commonplace events of the day, and making some friendly inquiries about this rather beflustered and suddenly movie -struck reporter. Prop-men were breaking up the set and so we walked over to his dressing-room. The only photograph there was a large one of Carole Lom- bard in a beautiful silver frame standing on a small table by an easy chair. A small vase of salmon rosebuds stood by the picture, which showed Miss Lombard in riding habit, without make-up — and looking very natural and lovely.
Clark said he really thought perhaps a story based on reality would be better than one on fancy, and that we should write it after we'd had a date. However, he told about the places he liked to go, the things he liked to do ; what he said when he telephoned a girl, how he always asked her where she would like to go. If she suggested the Trocadero, he would ask her what she was wearing and send a corsage of flowers in har- monizing colors from his florist. For the occasion he would rent one of the long black limousines from the studio, as he only owns two sport road- sters and a hunting station wagon of his own. And of course he would wear white tie and tails and a top hat. But he said if given his preference, he would rather dress comfortably and call the girl and go for a ride. If the circus was in town he would certainly take her there, and they'd munch hamburgers and drink pink lemonade. But if the racing season were on, he'd suggest they go to Santa Anita. And then he always likes the tennis matches. Too, he likes small dinner parties at the homes of friends. Sometimes six months pass before he dons a dinner jacket — and then he will have to drive over to his studio, and take one out of his dressing-room for a formal occasion. And so we wrote an enter- taining story, though {Please turn to page 78)
such an opportunity might come to some lucky girl.
Once in the not so dis- tant past, I was sent by an enterprising editor to write a newspaper feature on "How It Would Be To Have A Date With Gable." When I was introduced to Mr. Gable on a movie set at his studio, and got a first-hand close-up of that boyish grin, the Gable dimples and his engaging personality, I stepped right out of my classification of Hollywood news corre-
17
What
rs are
pping
ny <
A startlingly frank article throws light on the crisis many screen greats face, and shows the way stars may escape clanger signs ahead
?
HEN Marie Antoinette said "Let them eat cake !" she placed her head upon the guillotine. When a Garbo said "I tank I go home;" when a Dietrich refuses to turn from her mirror long enough to smile at the populace ; when a Joan Crawford changed from a dancing lady to a grand lady ; when a Jean Arthur fights with her studio and stays off the screen ; when a Nel-
00$ '■'
18
Press ; when a Simone Simon has more tantrums than talent proven — are these perhaps trivial gestures and attitudes the equivalents of that famed and fatal sentence uttered by a Queen ?
There have been innumerable articles written about How A Star Rises, and Why. It makes for a better understanding of the whole if we take a look at both sides of the page. So let's, for a moment, contemplate the phenomena of the rising stars. We know that stars rise, Phoenixes from the ashes of beauty contests, Broadway theatres, college dramatic plays (i.e. Robert Taylor) ; college plays and college movies (i.e. Andrea Leeds) ; little theatre productions (i.e. Wayne Morris) ; that they skate into Hollywood like Sonja Henie ; dance into Hollywood like Eleanor Powell. We know that they hail from foreign parts where the talent scouts, beglam- ored by a Budapest or a Berlin, believe that all that glitters there must be box-office gold here — i.e., Marlene, Luise Rainer, Ilona Massey, Pledy La Marr and others. We know that the instant Hollywood feels within its loins the first faint flutterings of an embryonic star the powerful batteries of the studios are let loose and the period of gestation, results in an accouchement with all of the fairy godmothers in attendance !
When a star rises there are infallible signs. The instant you step foot in a studio you are aware that the whole antennae of the place is a'quiver. When Robert Taylor made "Society Doctor," long before the picture was pre- viewed, long before anyone "outside" had heard the name of Robert Taylor we who are in Hollywood were subtly forewarned that unto us a new star was to be born. The publicity department of M-G-M, told to "sell" Taylor,
kept up a steady sing-song, the bur- den of the refrain the name of Rob- ert Taylor. Writers for movie publica- tions were (Please turn to page 87)
Marlene Dietrich, right. Her future is the subject of much speculation in Holh/wood. Left, Garbo, whose popularity abroad is even greater than in Amer- ica. Below, Ruth Chatter- ton, once called the Screen's First Lady, is no longer in Hollywood.
*'?M
19
SCREENLAND SNOOP
Reports:
Its a Romance in Waltz Time!
Their love story is front- page news. They have been touched by tragedy, smeared with sensational- ism. But the romance of Robert Taylor and Barbara Stanwyck is at heart a serene and steady reality. Above, "he" and "she." Left, a new portrait of "him."
THEY are saying out in Hollywood that Barbara Stanwyck and Robert Taylor will not get married. Hollywood just can't bear to have its romances coast along pleasantly. Hollywood either has to be mak- ing up or breaking up its romances. People just can't love each other period.
The members of my aunt's Wednesday afternoon bridge club seem to have the best "inside" information on the Stanwyck-Taylor situation. They know quite definitely, without the slightest shadow of a doubt, that the split has come. (Last month they knew quite defi- nitely about Lombard and Gable. Next month they'll know quite definitely about Gaynor and Power.) Now it is my business to keep in constant contact with the movie stars, and I was always one to mind my business, even if it means having cocktails with Clark Gable, but I'm telling you that if it wasn't for my aunt's Wednesday afternoon bridge club I would never know what goes on in Hollywood. The source of their perfectly marvelous "inside" information seems to be the various columnists and air chatterers. They don't even know a girl who knows a girl who does Barbara Stanwyck's nails !
"True!" said Mrs. North with vehemence as she slammed her last trump right smack on her partner's ace. "Of course it's true. They have definitely split. Didn't you read the lowdown in the Reporter this morning? It said: 'You just wouldn't be- lieve it if we told you what beautiful male star couldn't get a date on Sunday night because six different girls turned down the chance, not able to believe he was dateless !' Of course that's Bob. Who else could it be ?" "Gable," said Mrs. East.
"Hurrmph," said Mrs. North in disgust, "they never refer to Clark as beautiful. Bob is the only beautiful male star !"
"I've known it for months," said Mrs. West, who always seems to have known everything for months ex- cept that you must not lead from an unguarded king. "Didn't you read in a column several weeks ago where it said that the highly publicized romance of a certain screen couple is as cold as ice but that the two stars are loathe to call it off fearing the resultant publicity, or something like that. Barbara' and Bob of course. And didn't you hear on the radio that Barbara was that way about Herbert Marshall — "
And so it goes. Driven into a frustrated fury once when they tried to tell me that one of my best friends was about to depart this world in the throes of hiccups (she had never been nearer hiccups than a good burp in a coca-cola) I endeavored to inform the Mesdames North, East, South and West that what they read in the columns and what they hear on the air is nine-tenths of the time dreamed up by a bunch of press agents who sit around in offices and are well paid for dreaming up things.
"We call them the Never, Never People," I said waxing enthusiastic. But I was soon slapped down by a set of cold, icy looks. "It is too bad," they said firmly, "that Madge has hiccups."
Now my aunt's Wednesday afternoon bridge club, and their ilk, are not the only ones in Hollywood who are calling off the Stanwyck-Taylor romance for poor Barbara and Bob. The publicity people, the fan writers, the hairdressers, the cutters, the prop boys, the gatemen, ?nd even the movie stars themselves seem to know quite
20
fame, was pretty thrilled to manage a down payment on ''the first car she ever owned."
Alan Curtis, personally chosen by Joan Crawford for a star-making part in "Mannequin," refused an invitation to ride horseback with Spencer Tracy because he didn't have riding boots — or the price for a pair he considered sufficiently swanky!
These facts, and others just as startling, have never before been told about the glittering newcomers who are drawing you and you into a million box- offices all over the world. Literally, and unless they've a strong sense of humor, pathetically — they are tops on credit, but low on cash !
Jon Hall told me, "At first I accepted all the invitations that came my way, for you can imagine my pleasure at mingling as an equal with the celebrities about whom I had read so often. Then I began to imagine that they wondered, 'Why doesn't he ever in- vite us anywhere, and make some effort to return all this hospitality?'
"I could, perhaps, afford to play host to a few, but on my present salary, it would be fantastic for me to attempt to repay the lavish hospitality I've enjoyed. Therefore I've stopped going out, except with a few close friends. // / were making as much as $500 a week I could keep my end up with the $5,000 a week stars. But not now."
There, you see, is the problem ! As Jon himself said, {Please turn to page 72)
Wayne Morris, Patric Know- les and Marjorie Weaver, right reading down, all are tops on credit. Above, Jon Hall and Ann Sheridan. Left, Andrea Leeds — Jon Hall wants to take her dancing; but he hasn't the cash.
23
DEEP in Don Ameche's innermost being there is a something which manifests itself throughout his entire personality. He believes it is this which has Drought him success. That something is — Faith.
If eyes are the windows of the soul, then voice must be the sounding-board of the spirit, and Don's faith is abundantly reflected in both. It projects itself into every- thing he does and reaches the hearts of the countless
The finest — and frankest — self- revelation ever made by a suc- cessful star! We urge you not to miss this brave and beau- tiful interview with a man we honor for daring to share his spiritual experience
By
Reginald Taviner
millions who see him on the screen and listen to his radio programs. They respond instinctively, as truck loads of fan mail tell him, though few of them even suspect to what they are responding.
For Don's faith, unlike most actors' and entertainers , is not in himself nor in the "breaks," but in God. And God, he declares, has never let him down !
Don does not parade his belief upon his coat-sleeve nor seek to impersonate a plaster saint. On the contrary he is magnetically human; he smokes, dances, drinks mod- erately, swears spontaneously when anything makes him mad, and dearly loves a good game of poker. Neverthe-
24
less he lives by all odds the cleanest life in Hollywood because he never ceases to practice what he consistently omits to preach.
This faith of his, which for him has truly moved moun- tains, is no new-found thing. Of Italian descent on his father's side, it is inherent in the bone; m it he has found strength and inspiration all his life. Nor is it merely a convenient faith in which to find refuge when things go wrong and forget when they go right. Always he has been succored and sustained by its unutterable power and quietude beneath the surface.
He admits that he has lapsed from grace many, many times. But at such times, he asserts, he has suffered until his conduct was brought into reconciliation with his con- science. As an outstanding instance of this there was the time in Chicago when Don literally passed out on the street. The world then had not so much as heard of him ; he was still studying to become a lawyer and his radio and movie career was undreamed of in the future. Between colleges— he went to five all told, equally unsuc- cessfully— he was at a loose end. For some months he had been drifting aimlessly and drinking pretty heavily
for him. "' „ .
Then, of a sudden one night while he was walking back to 'his room, everything stopped. Just for an instant Don says that he simply ceased to be! He wasn't drunk or sick, and it wasn't a physical but a spiritual suspen- sion ; for that infinitesimal moment he whirled as an atom adrift in space. He didn't faint, slump to the ground as did Saul on the road to Damascus, or anything like that. He himself describes the experience by saying that it seemed as if all the cords holding him to earth had simultaneously been cut.
"That one split-second was the biggest crisis of my entire life," he said. "I was as a man drowning in the infinite without even a straw to clutch at."
And in that moment he saw! In his idleness and youth- ful dissipation he had been veering dangerously from his anchor. He believes that instant was sent to him in which to take a spiritual breath. With that breath he was reborn, and everything snapped back into focus again.
There have been several similar crises within Don's re- membrance, although in his opinion none of the others approaches the moral magnitude of that one. However, another which he vividly recalls happened years before when he first left home to attend St. Berchman's Semi- nary at Marion, Iowa. He was just eleven at the time, the eldest of eight children, and being thus uprooted from his parents and brothers and sisters was a great wrench. His childhood in the rollicking, yet essentially religious family circle had been very happy indeed, and when the shy, sensitive Don found himself an utter stranger among the hundred and fifty other pupils at the school he was acutely miserable. He was homesick, lost, lonely. But at St. Berchman's there is a little white chapel.
Beverly Hills February 4, 1938
Dear Delight: —
Reg Tavlner haa written a story for yon
Beg is a friend of mine, and, in the course of talks together about lif e-and-things he to8 leuneJ . lot of my reactions. He said it was ""ftiyyatjrlA and wlshe:' to write a story about ray faith in tJofl! . I told nin to "go ahead" and he did.
I am unconditionally optimistic, Delight, but fltn of course, must be ~en*al if
tVlllll t ^successfully demonstrated in one's- individual consciousness ?t follows inevitably that there comes to 1 1 a suppo rt a great er degree of faith and of love for human kind.
And, while I have your attention I wi sh to been in pi cture s.
To - Delight Evans
Editor, SCfiEEHLHJD
With best wishes.
Don Ameche wrote this letter, above, to the Editor of Screen LAND authorizing the amazing story on these pages. Below, a close-up of Don and his lovely wife, Honore.
Its haloed figures beckoned to the forlorn youngster from the stained glass windows with a welcome that was familiar and friendly. Here was something he knew, something which had always been a part of home. So he went inside, knelt, and poured out his troubles with clasped hands and juvenile tears. Kneeling there was like kneeling again at his mother's knee. His tears ceased and an ineffable peace descended upon him.
"When I got up I felt entirely differently," he said. "I was comforted because all feeling of strangeness had vanished. It seemed that God came very close just then."
Incidentally it was at St. Berchman's that Don, quite unknowingly of course, actually began his career. For there he learned to "speak pieces" and during his second year represented the school in a statewide elocution con- test. He won hands down with his impassioned rendition of The Going Of The Swan.
To prove that his religious and histrionic activities didn't make him too Little Lord Fauntleroy-ish he the same year led the school basket- (Please turn to page 82)
25
Actors Draw Star Salaries!
Animals that made stardom. Left to right across top: the late Jiggs, famous chimp of many a picture who died after playing in "Jungle Love." Corky; comedy is his forte. Seal, in "Big Broad- cast of 1938." Sui Sun, Leo Car- rillo's horse, seen also in center jumping a rope held by Nelson Eddy and a director. Lion cub. Billie, the alligator. Pete, the penguin. Leopard. Skippy, also known as Asta — his name in "The Thin Man" films — and Mr. Smith, in "The Awful Truth."
A
RE we in an age
of men or mice ? Homo sapiens or apes ? Is this to continue as an era dominated by the higher, two-legged and morally conscious
vertebrates or is it to be taken over by canines, bovmes, porcines and felines? And if so, which would you rather be? These are questions Hollywood is asking, and per- haps justly so.
Leaving the Donald Ducks, Mickey Mice, Felixes, Clarabelles and Plutos to their own particular fortunes it appears that, to gain riches in Hollywood, one would well achieve his demise and return to this earth in the
form of an animate penguin, trained seal, chimpanzee, alligator, lion cub or Pacific pelican. Or, perhaps better, become the owner of one of these.
For here in shadowland, the fact that animals used m certain pictures draw down definitely more money than the persons whose names head the roster of players, is fast becoming an open secret. That animals have, more- over, stolen scenes from important players in important screen plays is not an unknown fact. Nor do these players hesitate to let it be known that they are strongly against performing in sequences where domestic creatures or wild life are given free rein. And all of this, to speak fairly, with a certain amount of reason.
As to scene stealing by animals, you have the perfect expression currently in the lithe, intelligent, and prankish "Nissa," the leopard which plays the name role, no less,
26
I
I
g
as ice
and by
lere .iere
D
D,
elaye
d
scovery
Hollywood catches on, and Cesar Romero forthwith becomes a screen as well as a social somebody of importance
By Martin Somers
It was a great day for Cesar when Hollywood took back the gun they gave him to play gang- ster types and handed him a baton for a com- edy role in "Happy Landing." Cesar made a hit with the screen- goers playing that part, and also with Ethel Merman, in a close-up with him at right. Suc- cess and romance in the same film, eh, what?
FOUR years isn't too long to make, in anybody's profes- sion or business, the advance Cesar Romero has accomplished. Yet, in Romero's case, the recog- nition he now rates as a leading man in character, heavy, or comedy roles, is taking on all the aspects of a delayed discov- ery in that land of split-second success that is known — and how well it's known — as Hollywood.
Cesar is the former ballroom dancer and stage actor who was given a gun when he went to Hollywood in 1934. By day, under the gleaming arc lights of sound stages,_ he flashed his dark brown eyes in menacing glares as a villain in costume or a gangster in mufti. By night, under the less searching but far more social spot- lights of Hollywood's swank dinner-and-dance retreats, Cesar moved with even greater grace and assurance to the rhythmic measures of a waltz, rhumba, or what have you, Terpsichore, his partner in the dance some glamor girl whose appearance at any party was good for a line or two in the chatter columns. It got so you read far more about his social than his screen life, and you got to tabbing Cesar as the man who went to Hollywood to squire the pretty girls around at night, merely filling in the daytime hours by acting the dirty dog for the cameras, just for diversion.
But came "Happy Landing," came the movie critics' enthusiastic, yet nevertheless surprised, response to Romero's slyly adept comedy performance as the dim- wit bandman, Duke Sargent, and comes an entirely new appraisal of Cesar Romero — not from the public, you understand. There has been right along a large Romero
following, and all of its mem- bers are hereby accorded their time to laugh at the "discov- ery" by critics of something the Romero fans could have told the critics long ago — that Cesar doesn't do things by halves.
How close Romero came to missing the chance to de- monstrate what he really can do on the screen is something that has been entirely missed in the records so far. Long under contract to Universal, that company had been cast- ing Cesar only sporadically for some time, and he was becoming a habitual loan-out to the neighboring 20th Century-Fox lot. When Shirley Temple's "Wee Willie Winkie" film was being cast, Cesar was picked for the chieftain who was leading his tribe in revolt against the British army in India. As Khoda Kahn he had a chance to develop a colorful character. But nobody paid much attention to that during the filming of the picture. Between the completion of "Wee Willie Winkie" and its first preview, Universal dropped Romero from the con- tract lists. That was bad. Then "Wee Willie Winkie" was previewed. The audience, as did audiences at later showings, singled out Romero for the highest of praise. That was good. Next day he got his present contract with 20th Century, and the opportunity he turned to such good account in "Happy Landing."
"The name, Khoda Kahn, has stuck to me around the lot," Cesar told us between sips of orange juice at a restaurant during his recent trip to New York. "From property men on up, I'm quite (Please turn to page 75)
29
Bloody out Unbowec
From Henley's INVICTUS:
"In the jell clutch oj circumstance, I have not winced nor cried aloud, Under the bludgeoning* of chance My head is bloody but unbowed.
WELL, I must say Hollywood certainly had its ears knocked back by Broad- way this season! The way the pam- t>ered pets of the cinema were slapped down K he ^appreciative New York fans and the unimpressed Broadway critics was really some- thing terrific. Why, the gilded screen ufek haven't been so effectively snubbed since Mrs Patrick Campbell visited the West Coast and showed a fine disregard for the social amenities. Mrs. Pat had a most distressing way of nevei having heard of anyone! While Beverly Hills gasped and Brentwood gaped she tossed off Mary Pickford, Norma Shearer, and Joan Crawford just as if they were so much jetsam. New. York this year, as far as the film bunch were con- cerned, was a great big Mrs. Patric. f Campbell. K,
I remember — and a lot of people wish I didn't— when producers turned as pale as snow pudding when then- glamor girls and boys walked ^mag- nificently into the "front office,'^ giv- ing out with a Barrymoreish, "You can't do this to me, you worm. I'll return to the New York theatre !_ Such a lot of excitement ! The di- rector would go down on his knees, the producer would go down in his pockets, and the Paramount stock would just go down. The "Gee-ild"
.ur large picture above, across the two ages, shows poor little Sylvia Sidney nee more menaced by that great big „orrid movie camera, from which she escaped, briefly, by going back to Broadway. However, now you II be seeing Sylvia on the screen again, and soon. Left Fredric March, who took his Broad- way' beating like the good sport he is.
30
At long last, Hollywood is up in arms against the abuse of the collecting craze. Read what your favorite stars are doing about it
By Charles Darnton
film celebrities are no novelty to the man, woman and child in the street, it is seldom, if ever, that they dare venture into public view without resort to at least the attempted disguise of dark glasses.
In the stand now taken by the great majority of Holly- wood stars their attitude might be suspected of being a wholly selfish one. This is not the case. They are long- suffering, but not self-pitying. It is significant that my investigation proves them to be not only tolerant to a surprising degree but so fair-minded as to see both sides of the matter. They are not so much afraid, for example, that a mob-rush may bring physical injury upon them- selves as they are fearful of disaster befalling their reck- less pursuers. They want parents to help them take care of endangered youngsters. They know they can take care of themselves. And they have a plan of taking care of the big, unwieldy, free-for-all sport which, for lack of a better — or worse — term is called autograph-hunting. Carole Lombard, generous {Please turn to page 91)
Here Carole Lombard, at left below, laughingly seems to dodge the importunate autograph-seekers being held in check by the police — center, on opposite page. Then, read- ing from top left, Errol Flynn good-humoredly autographs a little girl's hat; Barbara Stanwyck and Bob Taylor give in gracefully ; Olivia de Havilland, on "Robin Hood" location, autographs for admiring youngsters; John Barrymore and Elaine Barrie being obliging. Now, on this page: at left above, Loretta Young signs from her car window; Edward Arnold, below, tries to laugh it off; Bette Davis, at right below, in an impromptu autographic moment; and Robert Montgomery, bottom left, grins amiably at a group of fans.
33
Andy Devine had so much fun broadcasting for Jack Benny he forgot to ask to be paid! "Gravel-Voice" now gets gold as well as applause
Whitney Williams
ANDY DEVINE is one _ of A\ the screen's outstanding / \ personalities — but if he weren't so all-fired dippy about radio, he'd be richer today by many thousands of dollars. Not that the gravel-voiced comedian will admit the truth ot this assertion in regard to his finances. He'd be the last one in the world to accede such a thing. That s purely an editorial aside. Everybody in Air, however— and in Hollywood as a whole— knows he should have earned such an amount and more for his radio wort luring the past year. And that's where they're wrong.
Up until a few weeks ago, Andy Devine had never received a cent in payment for his numerous radio ap- pearances! What? But listen. It all started a couple of years ago. Let's skip back to the time Andy was location- ing with the "Coronado" film company, at the California resort of that same name.
Andy is a golf enthusiast, and whenever he can spare the time will hie himself to the nearest links. In Holly- wood, he belongs to the swanky Lakeside Country Club — the club of the movie-great — and almost daily may be glimpsed there in company with such crack players as Bing Crosby, Dick Arlen and Johnny Weissmuller. It wasn't so strange, then, that he should haunt the golf course down there at Coronado, on the days he wasn't acting before the camera. On this particular occasion, Andy and another member of the troupe were about to tee off when Jack Benny approached with one of his
The genial big boy with the gravel ' voice is in demand for pictures and radio. Reason: he enjoys his job. Left center, Andy with Mrs. Devine and their son. Left, with Tyrone Power "In Old Chicago." Above, riding the range.
gag-writers. The business at hand was golf, not gags.
"Mind if we make it a foursome?" he inquired.
"Come on," grinned back Andy. Then, to his partner, "Here's meat."
"Oh, yeah," snapped Mister Benny, in his customary bright style — and the game was on.
Along about the ninth hole, after having listened to Andy's hoarse cracks and slightly loco conversation, Jack removed the cigar from his mouth — sure, he even plays smoking a cheroot — regarded Andy owlishly for a mo- ment, then fired a question at him.
"How'd you like to come down to the broadcasting station some time and be on my show ?"
Andy sliced, beautifully. And at ten cents a hole. He barely recovered his gum before he swallowed it. But he beamed. He grinned from ear to ear.
"Say that again," he begged, bordering on hysteria. "How'd you like — " and Jack was smiling, too, now.
"Would I !" Seagulls flying overhead suddenly struck for home, at Andy's frenzied cry.
"All right, all right— forget it, and play golf." Jack replaced his ever-present cigar and drove solemnly down the fairway — right into a trap.
For nearly a year, Andy (Please turn to page 75)
34
swcr to
Ever since a certain "Open Letter" we've been be- sieged by the admirers of Nelson Eddy, in agree- ment or in anger. The singing actor inspires more wholehearted enthusiasm than any other star on the screens today. On one point, however, his fans are unanimous: give us more, and better, Eddy art. We think you have it here. The lovely lady who sings and acts the title role in "Girl of the Golden West" with co-star Eddy is, of course, Miss Mac- Donald. (We like her, too!)
Ever since she was a kid, Gin- ger Rogers has yearned for her own soda fountain, where she could whip up delectable messes with her own fair hands. She has it now — see above, and at left. At bottom of page, the swimming pool on Ginger's beautiful new estate.
Step Right Up to Ginger's Socla D
What'll it be? With la Rogers as your hostess in Her grand new home, you'll take a chocolate sundae and like it, as who wouldn't?
While Ginger, on opposite page, is an established star with a gorgeous new estate, Andrea Leeds, who made her first hit with Ginger in "Stage Door" and followed it up in "The Goldwyn Follies," moves into her first real Hollywood home, in which she is pic- tured here.
Come and Call on Andrea Leeds!
Hollywood's new wHite hope for future greatness poses for Her first "Home" pictures — and it's a real Home, too
Personally we don't know whether the joke's on the bull Martha Raye will meet when she plays a lady matador in "Tropic Holiday," or on Martha, as she learns, above, about the Sport of Spain from Heming- way's "Death in the Afternoon." Maybe Martha was thinking of "Ferdinand the Bull" when she took the part.
ou:
f
Shooting stars on the swing, our cameraman calls this one above: Bob Hope, Ben Blue, John Payne; and, seated: Gracie Allen, Martha Raye, George Burns, Betty Grable and Florence George, all members of the "College Swing" show.
Looking in on the stars Hollywood calls to create comedy, as they tune up to make you titter those blues away
Attic antics, above, by Harold Lloyd and Lionel Stander are for fun in "Professor Beware." Love with a sense of humor: across top of page, Gracie Allen and Edward Everett Horton, romancing in "College Swing." Far left, Bing Crosby and Mary Carlisle, in "Dr. Rhythm." Center, left: George Burns and Gracie Allen. Below, from left to right: Lynne Over- man, Martha Raye, W. C. Fields, Shirley Ross, Bob Hope gang up to make you giggle.
1
Glitter, in the spangles and eyes of Simone Simon, above. Curves to capture the artists' and just plain citizens' eyes, in Betty Grable, right. Glamor: just look at Dorothy Lamour, center right. Enchant- ment, of course that's Shitley Tem- ple, brightening this brilliant as- semblage of charm and talent, there at upper right. Allure — that's Alice Faye, top center.
Specimens!
mm
These fascinating ladies! Ex- clamations are in order when you meet Claudette Colbert and Carole Lombard in their most vivacious moods, as you do in these pictures of Claud- ette, so Springlike and chic in her sailor and tailor of white; and Carole, below, swathed in fox and accompanied by her furry friend, the sheep dog, gift from Clark Gable.
Look to Hollywood, and these adorahles, for the true pattern of pulchrU tude; of charm, vivacity, and style, hut above all for the personality en= semhle that always pleases
Go ahead— sing it with Priscilla Lane (you must know the words of "Bei Mir Bist du Schoen" by this time!). These action shots below of the rapidly rising young screen singer, taken in sequence as Priscilla warbles the tune, also offer you points on how to put ummph into a number.
Playlets
in
Pictures
Caught hy the candid! camera! Here we offer you a series of shows that need no words and music to make them amuse, interest, and entertain all who like to see the fun behind the screen
The great disappearance act, ladies and gentlemen, is going on above. Follow, across these two pages, the magic of Ben Blue, who puts Martha Rave into a cabinet blind- folds her, makes magic passes, and— and opens the cabinet to show Martha s still there (where'd you think she'd be, silly?). Below, Mabel Todd and " Von. The dog can, and will — and does — talk, and also sings a duet with Mabel.
Wind, rain, fog, even cobwebs, are produced with startling realism by the ingenious devices seen below, manipulated by Hollywood's studio magi- cians. Yvonne Duval, Paramount starlet, walks in a gale; finds her way through a fog, is trapped by smoke, and caught in a spider web. Some fun!
Property man in action. Left, putting labels on bottles for a scene in "Men of the Waterfront." Center, Wallace Beery, star in the picture, selects a pistol. Right, Maureen O'Sullivan, leading lady, picks a wedding ring to use in the film — oh, a happy ending eh? Well, it makes a nice change!
1— 1918: at the age of 22 months. (Anita was born in 1917, in New York City.)
2 — 1921: on her fifth birthday.
3 — 1922: when she was six — "playing nurse" with her dog.
4 — 1923: Anita's first screen role in "The Sixth Commandment," filmed in New York. From left to right, Charlotte Walker, Edmund Breese, William Faver- sham, two boy actors.
5 — 1924: Her first emotional r6le, in "Lend Me Your Husband."
6 — 1925: At the age of eight, Anita won applause for her work in "The Music Master," with Alec Francis.
7— 1926: In "Square Shoulders," with Philip DeLacey.
Anita Louise s Success Story Told in Pictures
Now that Anita is of age — she celebrated her 21st birthday January 9, 1938 — her mother opens for us the family album
8 — 1927: Anita, at the age of ten, was a clever dancer as well as an actress.
9 — 1928: Eleven years old, and already an experienced actress of poise and charm.
10 — 1931: At fourteen, Anita was an established player. A close-up in character for "Heaven on Earth."
11 — 1932: Back to the stage, to act with Billie Burke in "The Marquise."
12 — 1933: Hollywood again, and a role with William Farnum in "Are We Civilized?".
13— 1934: With the beloved Will Rogers in "Judge Priest."^
14 — 1935: Anita wins coveted role in "Anthony Adverse" and plays it to perfection.
15 — 1936: As Errol Flynn's leading lady in "Green Light" — a box-office hit.
16 — 1938: Now Anita, a full-fledged star at twenty-one, re- ceives her mother's birthday gift of a star sapphire ring. She has arrived! Warners promote her to stardom.
J
hi
i
f
E
Selected For Stardom
How many of these promising newcomers will achieve Hollywood fame? We're for them!
Halfway up the Hol- lywood ladder is lovely Olympe Bradna, P a r a - mount's candidate for glory — at left, by her garden pool; above, a close-up; and at right above, with her pet, an ex- circus dog. The lovely girl at the right is Arlene Whelan, once a manicurist on the 20th-Fox lot, now Warner Baxter's heroine in "Kid- napped"— on the same lot.
Steps to stardom up the Hollywood ladder: below, Joyce Matthews, for seven months a "stock girl" at the Paramount Studio, received a bit in "Tip-Off Girls." Playing a waitress in a cafe scene, Joyce is notified she has been given a small part, phones her mother the good news. Next, her grooming at the hands of an expert hairdresser. Then last-minute make-up.
Lucky girl is Doro- thy Belle Dugan, selected by Pete Smith from hun- dreds of beauties for the lead in his short feature, ''Modeling for Money." See Dot and Pete at right, and a close-up of the newcomer, above. Also lucky is Frances Mac- Inerney, who also gets a part in Mr. Smith's movie be- cause Joan Craw- ford, with whom she appeared in "Man- nequin," believes she has a future. See the three at left above.
At left, Louise Campbell, a stage actress, now trying her luck in Holly- wood. You've seen her in the "Bull- dog Drummond" films. At right, the lone male among important newcom- ers— Richard Greene, brought from England to be Loretta Young's hero in "Four Men and a Prayer."
Continuing the adventures of Joyce: at left below, a script girl gives Joyce her part, with the first lines she has ever spoken in a movie production. Next, the big moment is nearly here! Joyce waits while the cameraman gauges the light and composition for her close-up. And finally, it's a "take" — Joyce goes through her scene with Lloyd Nolan and Roscoe Karns.
G. E. Richardson ^ ^ ^ fa ^ ^ & popular
established player gains new lustre, in Paramount's picturesque ro- mance in a Continental setting, "Stolen Heaven." Olympe Bradna, the little French girl who won in- stant audience interest in "Last
Gene Raymond and Olympe Bradna in "Stolen Heaven" gain ^^^G^
Raymond as her leading man.
Tne Most Beautiful Still of tne Montn
///-/don't tell a soul! .
CAROLE
FERN AND
LOM BARD RAVE T
Their romance is scandalicious, scandalovely, scandalirious!
a first national picture
presented by
i
Ik
■Hi
G
amor
M
aster
The supreme showman of screen . sophistica- l-ion shown in action, at left. Between scenes, right, he dreams up clever situations at his piano. Above, with the co-stars of his latest comedy, "Bluebeard's Eighth Wife" — Gary Cooper and Claudette Colbert. Top right, Gary and Claudette in action, with David Niven the victim.
Lubitsch defines the directorial technique which makes his merry pictures world-famous
Maude Cheatham
ERNST LUBITSCH, Hollywood's dynamic producer- director, and I were talking in his study at the Paramount studio. He was still under the spell of enthusiasm over his new film, "Bluebeard's Eighth Wife," which he had just finished, and he admitted that probably he wouldn't be able to talk about any.hing else because he was completely absorbed in it. This happens to be the sixty-seventh picture he has directed since his first two-reeler in Berlin, some twenty-three years ago, and never for a single minute during all this time has his interest failed, or his enthusiasm lessened.
Few successful people are happy. Either they are striving for new honors, or are dreaming of a time when they can leave their work and seek pleasures elsewhere. But this isn't the Lubitsch pattern, not at all. To him, every second of every day is a glorious adventure, and the lilt of his sheer joy of living gives his cinemas their appeal.
"Is it necessary," I asked Mr. Lubitsch, "that a woman know love and romance in order to portray these emo- tions on the screen?"
With a sly twinkle in his eyes, his reply carried the question, "Don't all women know love and romance?" Then he added, "Love naturally develops one's artistry, just as all deep emotional experiences enlarge the under-
standing. Acting deals with emotions, and an actress must learn the subtle shadings of her own feelings in order to make her portrayal so convincing that audiences will feel the heart beating under her words. That is, if she wants to become a star.
- "The most precious quality any creative artist can pos- sess is originality," he continued. "Beauty, glamor, mys- tery— three important requisites for an actress depend upon originality. I should say that none of these qualities can be created, or imitated ; but definitely, they can be developed. Hollywood has many excellent actors and actresses, but a star, in a true sense, is a rarity. A star is a player who is able to create on the screen. More especially, create something new, or something so vital and definite that it appears to be new. Even the most glamorous personality must offer some original quality to sweep audiences and be proclaimed — a star!
"The screen is making the world beauty-conscious, and it is also creating a new feminine beauty that doesn't depend on symmetrical features. There must be intelli- gence in the eyes, there must be culture and character in the voice to measure up to the new standard. I see a great change in screen audiences all over the world. They have outgrown the phony glamor and beauty that can be built with artificial eye-lashes, {Please turn to page 93)
51
THE ADVENTURES OF MARCO POLO— Samuel Goldwyn-United Artists
THE novelty of the screen season, to be seen by those of you who tire easily of current film fare, not that I .blame you; but at the same time a most curious cinema, with Gary Cooper not always at ease in his highly stylized surroundings— not that I blame him, either. This time Mr. Goldwyn has done his picturesque pioneering even farther afield than usual, and the result, despite, expensive settings, thousands of extras, and intermittent excitement, is a mixture of fantasy and melodrama at once bewildering and naive. Don't get me wrong: I love the small-boy's-dream school of cinema adventure, but "Marco Polo" is neither good, robust melodrama nor clever satire, but a hesitant attempt to combine the two, which can't be done, even in small-boy dreams. The film first pictures Gary as a gay blade of old Venice, then transports him to the kingdom of Kublai Khan where he falls in love with the b'eautiful Princess and runs afoul of the cruel Ahmed, played to the elegant eyebrows by Basil Rathbone. There are moments when Gary Cooper is an endearing M r. Deeds going to China, but mostly he is rather -sub- merged by his unconvincing role. The newcomer, Sigrid Gurie, is a vision of complete loveliness as the Princess ; you'll like her.
MAD ABOUT MUSIC— Universal
DEANNA does it again! This marvelous child— and, I should add, her marvelous producer— manage the hitherto , impossible feat of following two terrific hit pictures with 'a third which is even better. "Mad About Music" is grand entertainment— it's fun, it's musically engaging, and even im- portant, when Deanna sings Ave Maria with a boys' choir — it's always in good taste, and it's never insipid. There must be magic at work here ! Little Miss Durbin is almost too good to be true- now she has added an expertly sparkling comic talent _ to her other gifts, and some of her scenes are as rib-tickling in their sure sense of comedy as any ever played by Irene Dunne or Carole Lombard. Here she plays a school-girl in search of a father, and when Herbert Marshall turns up she grabs him, as who wouldn't, to supply the fatherly note in her lonesome little life— her mother, you see, is a movie glamor queen who can't afford to have a growing daughter hanging about. Deanna coaxes the sedate Mr. Marshall into the best scenes he's ever played, particularly his hilarious description of imaginary jungle perils. Even Arthur Treacher unbends. Helen Parrish, pretty newcomer, stands out. Gail Patrick is decoratively present. You'll enjoy it.
Reviews
of the best
Pictures
by
THE ADVENTURES OF TOM SAWYER— Selznick-United Artists
A THOROUGHGOING treat for everyone who likes small boys and girls, Mark Twain, and high-hearted . adventure— and that should include practically everyone except the old witch, and she hated even Snow White. First of all, a low deep bow to producer Selznick for his rare patience in pursuing the best possible Tom Sawyer. You know by now how he found him in the ingratiating person of Tommy Kelly; and the boy was well worth the chase. In selecting his other players Mr. Selznick has shown the same wisdom— for here is a perfectly cast picture. Little Ann Gillis as Becky Thatcher, May Robson as Aunt Polly, David Holt as Sid, Jackie Moran as Huck Finn— all very real, very lovable people, as guided by Director Taurog through the events which made Twain's book about an American boy a world classic. You'll chuckle at the famous episode of the fence- whitewashing ; the Sawyer-Thatcher courtship, the runaway and the return in time for the funeral— and you'll thrill with the lost children in the cave, rejoice at the rescue. It's so human, so endearing, and so heartwarming that if you vote it your favorite film for a long time, I wouldn't blame you. Technically, it's superb, with most satisfying color so far.
52
S
ven
nakes
ave
Ch
arm
The story of a girl who prefers to challenge, rather than use her charm, in the struggle for Hollywood stardom
By Frederick Stowers
CHAPTER II
T EIGHT o'clock that evening the little black- haired electrician was focusing his lights on a
/ \ love seat while the cameraman trained his camera. Walter and Phil were seated in two director's chairs, awaiting Marcia's arrival.
Walter drew deeply on his cigarette, his mood surly. "You've got a hell of a nerve, persuading Sol to let you drag me out here at this time of night to make a test of some little Hollywood Bohemian wench that I've kicked off the set once today !"
"You'll never regret it, Walter," Phil said with an expansive grin. "I tell you, my good man, this girl will make a director of you."
"Make a director of me! Why, you irreverent, para- sitical publicity leech !"
"Isn't the gentleman in swell alliterative form this evening?" Phil purred happily.
Walter consulted his watch. "Listen, Mr. Phil Burns — ■ Sol or no Sol, I'm leaving in just three- minutes. Got a date and I wouldn't be late because of the biggest star in pictures, much less on account of some unknown hussy. Why can't you complete your social arrange- ments with this dame without promising her a starring contract !"
"My dear Walter," Phil was deeply hurt, "you mis- judge my intentions. I'd as soon think of becoming intimate with a queen bee. But this girl wouldn't even bother to sting you to death. She'd kill you with a look. When she focused those icicle eyes on me I went hot and cold all over, and she has a laugh that cuts like a knife. I tell you, my boy, she has the strangest personality I ever saw. There's never been anything like her in pic- tures."
Walter yawned. "And probably never will be."
"You'd wonder what kind of a life she'd led. One moment she has the stored-up venom of a cobra and the next she's dripping with honey. I've never seen a human half so bitter, or half so sweet. My God, man, doesn't that sound interesting?"
Please Turn to Page 98 for Synopsis of Preceding Chapter
Marcia's glacial blue eyes had ur i, i 1 a frigid stare; she had forqot-
Walter was bored. ten +yha+ she wanted to b9e a Sounds pure Hollywood grand lady— had forgotten thai- tramp to me." she was making a test — forgot- "But Of course you ten e"erVtning but the urge to
haven't really seen her. be herself
You'll love her when you
come to know her. She has all the characteristics you thrive on. You know you've always insisted that heavies and character people made a picture interesting, and that unless one had some of the snake or tiger in their system, they couldn't put it on the screen." "So what?"
"So take yourself for instance. You were a knockout as a heavy. Why?" "Listen, louse !"
"Well, God knows you're no angel and you hate softies. It's your antipathy for the usual sappy leading woman that made me sure you'd go for this girl in a big way."
Walter made a weary gesture. "All right, all right, jimber jaw, but where is she? I'm giving you just two more minutes."
Phil made a last desperate effort to sustain Swing's interest. "Think of the novelty of it, Walter — making a star out of a young character heavy woman. What a relief that would be. Not the usual cut and dried clothes horse with poise, elegance, and a mannequin's stride. But a regular she-alley cat ; a woman who is frankly, un- apologetically mean and proudly bitter. A woman as definitely and defiantly hard as a gun moll — at war with the world — a human soul in travail. Can't you see something pathetically beautiful in that, something tremendous, compelling, sweepingly overpowering and inspiring? That's it — inspiring! One moment she in- spires you to break her lovely damned neck and the next she inspires you to go through hell to break down the wall of indifference she throws about herself — just to win her approval — for the joy of one smile."
"Listen, publicity guy, as a barker you're not so hot. And, anyway, you Jpn't have to sell me — I'm not your
55
public But just where is this paragon of hellishness ?"
And then Marcia entered, beautiful m a black velvet gown ; as smilingly nervous as an ingenue, as sweetly cimoerino- and ingratiating as a baby stai. there was evT someUiing of the .grand lady in her manner. She was in fact many things, but she was n t even remotely, the cold-blooded, softly treading alley cat Phil had ad
Ve''Good evening, Mr. Burns." She was so gracious.
Phil took one look at her, then glanced feebly at Swm^ Walter was preparing to leave the set. My God ±-tul cried in an agonized whisper, "she's gone lady on me!
"You dirty lying publicity buzzard ! f>
"Ah, Walter, for Pete's sake, have a heart. Phil caught his arm. "Wait! I've got an idea. Get the lights ready and be prepared to start shooting at any moment.
Walter nodded sourly and stood beside the camera as Phil approached Marcia with a genial smile. . Good evening, Miss Court. This is Mr. Swing, the
director." . . , . . n „
"Oh yes I met Mr. Swing this morning. "Hail and farewell," Walter growled. "May I apologize for my rudeness? "Forget it. I hope to." „ "Oh but I'm sincerely sorry for what 1 did. "We'll consider it didn't happen," Walter said with
tired courtesy.
"That's sweet of you."
Walter looked bored. "Yeah, I m that way.
Phil hastily broke it up. "You're all ready with your
makYe? Sh^mired,?brightly eager. ;;Do you want me to make an entrance down the stairs ?
Phil gave a violent start. "No! No, this isn't to be a movingSst. It's just for voice and personality. If you 11 be seated over there." , • . lnv„
Marcia didn't merely sit; she swooned nto the love seat like a gently nodding orchid. Phil and Walter ex cnaneed a °lance Then Phil spoke to Marcia with elab- orate courtesy, "Would you mind if I started by asking you a few questions, Miss Court?
"'First1 I'd hke to know if you were putting on an act this morning, or if you're putting on an act now.
"An act?" Her brows rose delicately.
"This morning you were a wild cat ; now you are very, very much the lady. Which are we to regard as youi
tn^S°M? Burns," she said prettily, "I'm a person
of many moods." ,lr^ ?»
"I see," Phil said grimly. "Temperamental?
"Oh no," she said hastily, "not unpleasantly so, I assure you; only artistically."
"Ah! It's just the artist in you.
u-j. osc so "
"WSeUPwee'HSOskip that for the moment. Have you ever had any speaking parts, either on the stage or screen? "No," she admitted reluctantly.
"But you do have a sincere desire to become an actress?" he urged gently.
"And you have confidence in your ability to act?" Again her brows raised in delicate surprise. Yes, 1
ha"But you'd naturally want to portray the characters to which you were best suited?"
"Of course." ' .
"And you do believe that we, because of our experi- ence, should be able to judge which of these characters you should be?"
"Yes — naturally." . .
"All right, then," Phil said brutally, "let s forget the velvet gown and the grand staircase entrance, together with the wish to become a lady, and get down to cases.
"I beg your pardon," Marcia said, with a first show-
"^nil^tinued, lashing at her with biting contempt "Please understand I didn't ask you to come here to make a test because I thought you could ever become he conventional type of leading woman. And I didn t ask Mr Swing, the most important director of Pacific,
56
to make a test of an average extra girl, the height of whose ambition is to strut grandly in a black velvet gown in a vain effort to simulate the graces of a lady."
Phil's baiting was having the desired effect. Marcia had forgotten that she was making a test. She had for- gotten that she wanted to be a grand lady — she had forgotten everything but the urge to be herself. The glacial blue eyes had a frigid stare ; the corners of her mouth were drooping and her real character was as evi- dent as her entrance had been artificial. Swing signaled to the cameraman and the camera started.
"I don't think I quite understand you, Mr. Burns," she said, her words like slowly dropping chunks of ice. ■ "I don't think you quite do," Phil said with suppressed excitement. "But the idea is beginning to percolate, Miss Court, and in just a moment I'm sure that you and I are going to be in perfect accord for the purpose of this test. What I am trying to say is this : When I heard you laugh at Miss Barrett's misfortune I thrilled with a fascinated horror at the quality of that laugh ; and when I later saw you descend the staircase I realized that in even so simple and natural an act, it was impossible for you to hide the sinister characteristics of your nature and, instead of coming down like a lady, as you no doubt fondly thought, you moved with the tread of a panther.
"What !"
"Please don't interrupt, Miss Court, and don't* mis- understand me. I wasn't dis- appointed— I was delighted. I could see in you a new and dis- tinct type of leading woman, who, because of her low origin and un- fortunate upbringing — "
"I'll have you understand — !"
"Be quiet ! I could see that you jj were hard and uncompromisingly H bitter ; that you were inherently and instinctively tough, with a heart of marble and the soul of an alley cat."
"If you brought me here to insult — " {Please turn to page 98)
To Phil and Swing the fact that Marcia had fainted was of no moment. The one thing that held them enthralled was her tremendous per- sonality, her sensational artistry, revealed in her own peculiar way in that outburst of anger.
'£ ,4
9f gw
Illustrated by Lloyd Wright
57
"It's all luck when I get a good camera shot," says the star of screen and real-life romance. But Flynn says "luck" about everything he accom- plishes — even his star- dom-— so you can be sure there's good advice oh how to have fun with a camera here
By
Ruth Tildesley
c
R
amera
ecor
rro
flynns Adventures
"IT'S all luck," said Errol Flynn, with a shrug. "Taking I pictures is just like life. If you get the breaks, that's | fine ! If you follow the rules and don't have luck, your picture's a dud — or mine is, at any rate.
"I never took the slightest interest in cameras — m spite of working in front of them for several years — until last year when I went to Spain. My best friend, who went with me, surprised me by giving me a little camera to make a record of the trip. I had never worked a shutter before. I knew nothing about pictures — speed, focus, lighting or anything— all I could do was put in the film, click the shutter, and trust to luck.
"Because -we were in Spain, we couldn't even find out whether or not what we had shot was good. We couldn t get anything developed until we got out of the country. But we went ahead, shooting what we saw, and when we got out, only two out of dozens were bad.
"That gave me camera fever. We got some swell shots. I wish I could find them for you, but I haven't the least idea what I did with them. Maybe they'll show up one of these days. I learned from that trip whenever I merely went ahead and shot without a lot of fuss, ten to one the stuff was good. But if I listened to experts and tried to follow their advice, the stuff was lousy.
"That may be because I have no patience!" He smiled, that devil-may-care smile that seems to get the girls. He was looking his best, debonair and delightful m the char- acter of the gay reporter in "All Rights Reserved.
"If you have patience, I'm told you can stand around
deciding exactly how you will frame each shot— that means how much you'll take in and where foreground, background and central interest belong. But as a rule, when an exciting shot appears, I'm in too much ot a hurry to go into all that. I shoot and take the print later on, cut off foreground or whatever is necessary to frame
the shot. , ,7
"Take this picture of my dog. He hates to pose. You have to fool him into it by pretending you're about to throw a ball or a stick. There'd certainly be no time to bother with 'framing' him if you ever hoped to get him
on the film. , ,
"I don't much care about shooting people. Unless they happen to be doing something interesting. Either they get tired before you have located them in the lens, or else they look blah with the effort of posing." f>
The assistant director began to moan for Errol, and the actor joined Rosalind Russell before the movie cam- eras Rosalind, believe it or not, was wearing a man s felt hat slanted back on her curls, a very blousy blouse, a red-white-and-blue plaid skirt, short and full, and a pair of white furry bedroom slippers, and succeeding m triumphing over the outfit. _
The scene ended with Errol kissing Rosalind and in- viting her to "come up and interview him sometime to which she replied : "Thanks for nothing, you big lug !
"I don't bother taking shots on sets in a picture like this one," he observed, returning, "There's nothing par- ticularly attractive pictorially about a newspaper orhce.
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On 'Robin Hood,' costumes and action look exciting. I liked these two shots of riders and horses. I might point out the way the white horse is shown up against the black one in this shot — but it wasn't premeditated. It was luck." "Excuse me."
Two anxious-looking gentlemen with hat boxes loomed beside us. Errol was to select a hat to wear in the picture — and they exhibited their headgear — Homburg, derby, English felt.
"I hate hats !" pronounced Errol, "I never wear one."
Director Michael Curtiz appraised the millinery, thoughtfully. "Terrible !" he sympathized. "Why don't you wear something like mine?" He offered a brown soft felt. But Errol waved it away. "No — that's terrible, too. All hats are terrible ! Take them away !"
Going back to the cameras, he admitted that beginners make the same mistakes.
"They put the film in wrong, they forget to take off the cap, they forget to pull out the lens, and they never change the speed or focus," he said, "Let me show you my camera — "
"Excuse me."
This time it was the tailor, a little man with a tape measure over his shoulders. He wanted to know what was the trouble with Errol's overcoat.
"It sticks out at the neck," complained the actor, "and there's no button inside." He tried the offending garment on, and pointed out its shortcomings. The tailor clucked
sympathetically and promised reform.
~ ~- (Continued on page 97)
Errol claims he just leaves it all to chance — but look at these fine pictures he made. From top left across page, reading down: Mrs. Flynn (Lili Damita); Arno, the star's pet dog; swimming pool at the Hearst Ranch, San Simeon; Flynn's boat. Above: another view of San Simeon, and right, view of the yard of the Flynn home, taken from window. Below: Flynn's stand-in; speed shot of action in "Robin Hood;" prow of boat.
v
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SCREENLAND
Gl
Sch
oo
Edited by
Subtle draping distinguishes Loretta's white |ersey gown below. The sculptured effect is obtained in the bodice and at the waistline by drawing he soft mate- rial through jewelled rings. Loretta's sumptuous ermine wrap is lined in cense silk At right above, Loretta's white slipper-satm dmner ensemble challenges the eye by means of silver embroidery done over heavy padding so that the design of acorns and oak leaves stands out in carved rehef on the funic jack*. At Tower right ensemble for afternoon, interpreting the vogue for all-white.
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Hollywood's Best-Dressed Girl gives us first glimpse of her new elegance
Below, gown for an exquisite — and only for an exquisite! — is Loretta's "Rio de Janeiro," fashioned of white chantilly lace with the pattern outlined in tiny gold sequins. The long sleeves are decidedly new for this type of dress. The frothy-full skirt is worn over a wide horsehair petti- coat. At left, allure — evidenced in every line of Miss Young's black chiffon evening gown. The apparently strapless bodice is supported by a yoke of flesh souffle with starched leaves of the material outlining the bodice top. Draped from the shoulders is a long scarf of the chiffon. Now, flitting from the sublime to the starchly crisp, we look at Loretta's white suit of novelty wool, pictured at lower left, with its blouse of bright canary-yellow linen and a striped cotton turban in green and yellow to point up the outfit. All these lovely clothes were designed by Royer of 20th Century-Fox Studios for Loretta Young to wear in her new film, "Four Men and a Prayer."
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Current
"lie by Colbert
_iaudette is most con- servative of all Holly- wood's smart stars, so her style slants are of special interest to v/omen who eschew the spectacular in clothes
The lure of lace! And the very special lure of fine white lace forming a hooded cape for Sum- mer evenings, is shown at right by Claudette. The cape is caught at the throat by a double jewelled clip. Colbert wears the cape in her new picture, "Blue- beard's Eighth Wife." A Travis Banton design.
White chiffon is a par- ticular pet of Claudette Colbert, and here, at left, she poses in her evening gown designed by Travis Banton. The flattering, high bodice with seductively wide shoulder straps stresses an entirely new note. The skirt is a soft, sweeping bias sheath over a clinging slip of white crepe. Claudette's jewels are a modern ar- rangement of diamonds and rubies. At right, the minaret silhouette is suggested in a gown of black tulle. Black and gold metal discs pro- vide a new type of glitter for the tunic. Bows of the black tulle are on the shoulders.
Eugene Robert Ricliee
62
ouses that Bloom in the Spring!
William Walling
Pretty Mary Carlisle has invested in a veri- table blouse wardrobe to brighten up her Spring suit of navy blue twill. Above, Mary's favorite blouse of claret-colored handker- chief linen with vertical rows of white stitch- ing, and high neckline finished by a bow. Below, dark red linen with five perky bows stitched in white for accent. Left, over- blouse of salmon-colored transparent crepe.
Top left, Mary's wisp of white batiste with dainty pin-tucked collar edged in lace. Next, navy blue handkerchief linen makes a smart blouse with small pearl buttons matching the triple rows of stitching. At left, bright blue linen, with tailored linen sleeves and tiny pearl studs.
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Tracy is one of those Hollywood rarities: a success- ful actor who is still simple and unpretentious. At right, see him at his ranch. Below, he smiles across the page at his brother Carroll, who is also his business manager.
|AMES CAGNEY once referred to him as the finest actor on the American stage or screen. He comes pretty close to being just that. Ask any actor or actress in Hollywood who their favorite star is and the chances are nine out of ten they'll tell you "Spencei Tracy/' His selection for the 1938 Academy honors was the signal for burst of approving applause by fellow screen artists that was unprecedented in the^ history of these annual Awards for "best performances."
I've often wondered what lay behind this united front on this one subject when usually Hollywood opinions are- as sharply divided as those at a peace conference. I think I have the answer. Every actor in Hollywood strives for naturalness. Because Spence is fundamentally one of the most natural and sincere people I have ever met, only naturalness and sincerity come through on the screen.
Not long ago when he was cast in an important pic- ture he moped over the assignment for weeks. "What the devil's the matter with you?" I asked. "That's going to be one of the big pictures of the year."
"So what?" he countered. "In the first place, the star is a woman and the story is written around her so I'll get what's left. I don't mind that. If I'm any kind of actor I can make a run-of-the-mill part come to life. I don't mind her part being fatter or larger than mine. I'd a lot rather people would leave a theatre wishing they
Spencer Tracy values big roles more than big money! His new contract calls for both, as you learn in this exclusive interview by Tracy's confidant and his best friend among Hollywood writers
64
had seen more of me in the picture than have them go out feeling they had seen too much. The thing that upsets me about this picture is that that girl is such a phony. And it all comes through in her portrayals !"
I met Spence when he first came to _ Hollywood and we have been pretty close friends ever since. It has been an interesting character study, watching his changing and shifting viewpoints about various things.
Once when I first knew him we were sitting in his living room. Through the French windows could be seen the rolling lawns with their flower beds at the far end. In the garage and on the driveway stood a couple of ex- pensive cars. He waved his arm to embrace _ the room, the lawn, the cars. "All this," he announced, "is very bad for an actor. An actor's life should be one of hardship. All this luxury softens him — unfits him for his real work (the stage). When you go back to the stage — and all of us will go back eventually — you find you have lost the common touch."
It never occurred to Spence in those early days of the talkies that he was to become a Hollywood fixture.
Recently when we were gabbing I mentioned the conversation to him. "I know," he nodded. "I did feel that way then. I was like everyone else who came from the stage to the screen. We didn't know anything about screen tech- nique. We looked with con- tempt on it and only wanted the money. I'd had pretty tough sledding and the idea of drawing what seemed to me a
■•if:
Spencer and LOU- S' ':. i ise, his wife, are IP shown above on
a vacation trip.
" ' At lett- +he TracY
#' ranch home in
San Fernando Valley, where "Spence" likes to loaf with his fam- ily. You'll see him soon in "Test Pilot" with Clark Gable.
stupendous salary, and drawing it regularly, was too good a thing to be overlooked. But I always figured that as soon as I had all my bills paid and a little money laid by I was going back to New York. It never occurred to to me the studio would want to keep me out here." "But you don't feel that way now?" I queried, lie shook his head. "No. I had enough money laid by when I left the old Fox Company to have gone back if I'd wanted to. But the more I learn about pictures — the more I work with some of the big directors — the more I realize what really fine things can be done in pictures.
"I think 'Captains Courageous,' for instance, is as fine as anything that has been done on the stage. You didn't like the picture. If you had said you didn't like me in it that would have been all right. I could have understood and forgiven you for that. But when you say you didn't like a splendid picture like that I resent it. I don't believe there is any stage director in the world who is any better than Victor Fleming."
"OK," I agreed. "Everybody else liked the picture so I must have been wrong. Weil pass that. But what about all this luxury that softens actors?"
"Well," he muttered, "maybe it does. But I realize now how much good can be done with all the money you make out here. Look at {Please turn to page 76)
65
Venus de Hollywood, 1938! As a model of current screen styles for figures, also fashions (playsuits are "it" now), Mary Brodel belongs on a pedestal.
OB TAYLOR is paid $5,000 a week for being Metro's master-of-ceremonies on that radio hour every Thursday night. But he isn't just raking in the money hap- hazardly. When he isn't acting in a film he averages twenty hours of advance re- hearsal ; when he's doubling screen and air he gets in as much preparation as humanly possible. There were a thousand fans flock- ing around the stage door when Bob emerged last week from his broadcast. Hereafter he'll have to depart by a differ- ent door each time, to save wear and tear.
VIRGINIA BRUCE has to become more of an outdoor girl if she intends to be a pal to her new husband. She learned to play tennis for John Gilbert's sake, and currently she's about to take up horseback riding for her new director bridegroom's smiles. He plays polo and he has eight ponies on his personal string. He's bought a polo pony for Virginia. "It's being trained," she explains, attempting to hide the fact that she's scared silly of horses. "When it's ready, I'll begin!"
By
Weston East
HEPBURN hasn't reformed, even though she's let the public in on her sense of humor via her latest film releases. She's still turning up her nose at all writers who want to interview her. At Columbia her attitude is all the more marked, for Joan Blondell was the visiting star before Katie and hit an all-time high in personal popu- larity. Irene Dunne, Claudette Colbert, Carole Lombard, and Madeleine Carroll have dropped in at this studio for single pictures. All are gracious, with Madeleine being voted the nicest to work with until Joan bowled everyone over with her thoughtfulness.
WHILE she was waiting for M-G-M to stir up a strong script, Joan Crawford tackled her singing lessons in typical style. Each morning Madame Morando, her reg- ular teacher, came to her home in Brent- wood for an hour's work. Each afternoon Joan reported at the studio for coaching by Rosenstein, Igor Gorin's musical guide. Rosenstein put her to singing arias from "La Traviata" with Douglas McPhail, fea- tured operatic singer on Metro's radio hour. Years ago, when Jeanette MacDon- ald was cast in "The Merry Widow," Joan was disappointed. She'd wanted that as- signment. She's still improving her singing, after all this time.
DICK POWELL, in his off periods, is going in for yachting in a serious way. He's entering the leading yacht races on the Pacific Coast and studying navigation. Do you suppose he got the urge at Annapolis, or when he was being a singing marine? It would be pleasant to think those Navy musicals he did had some such effect.
r DGAR BERGEN and Charlie McCarthy, tl though settled in a Beverly home, dream of a handy farm out where the other stars are ranching it up. "I've been reading of a one-man rancho," explains Bergen. The ad he clutched boasted of a back yard deluxe, with barbecue pit and patio, and only ten minutes from Hollywood. Which gives you an idea of just how rustic most of those farming stars are !
Heartiest laughs to be found on a re- cent tour of the lots turned up on "The Joy of Loving" set. See Irene Dunne and Doug Fairbanks, Jr., below, if you won't take our word for it.
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Norma Shearer returns to the screen as Marie Antoinette; above, in a scene with Tyrone Power as Count Fersen.
A long way from Hollywood — Europe, in fact — we find Claudette Colbert and her husband, Dr. Joel Pressman, hemmed in by admiring crowds as they see Naples — and enjoy themselves, below.
[EW AYRES hates to dance and has I— firmly stayed away from the popular night clubs. (This was a trial to both his wives, Lola Lane and Ginger Rogers. What was the use of evening gowns, they fig- ured.) Recently he put in every night at the dance hall at Ocean Park, substituting for the drummer in the orchestra. Lew hasn't had a change of heart, but he por-
trays a band boy in his latest epic and it's been so long since he's had a crack at an "A" picture that he's going to be a riot or else. He's working with Hepburn and Cary Grant.
FOR the past couple of months Olivia de Havilland, no less, hasn't had a date. She isn't nursing a blighted love, nor is she off men. She's tired. She's been work- ing- so steadily that she has to take dinner in bed when she gets home. But she's be- coming drowsy over fashion magazines, and vowing that when she has a vacation she'll buy some gowns that'll be knockouts. When she owns the gowns she'll find time to step out in them, or else.
IEAVE it to Basil Rathbone. That new L Georgian home of his isn't being built in the conventional manner. First he put in the terrace. Next the lot was properly fenced. The waterfall was third. The house itself comes last. "There's usually such a dismal mess around a new house," says Basil. "So I thought — why should there be?"
We persuaded Nan Gray to pause and pose before plung- ing for a swim. Shucks, any- body can swim, but not many bodies can look like Nan in a suit like that!
67
NOW that Kay Francis has built her- self a new home she's staging a wed- ding as its official house-warming. It'll be Kay's fourth, and with it she becomes a baroness. Baron Barnekow, who wooed and won Kay, was not, as many imagined, introduced to her by Delmar Daves, her long-time scenario writer flame and asked by him to keep Kay from getting lonesome while Daves was abroad. It turns out Kay met her heart at a party at Contess di Frasso's.
IUST before Marlene Dietrich made her J last picture for Paramount her dressing- room was redecorated lavishly to please her. Where it wasn't satin and suede and fringe, it was all mirror. Joan Bennett — who's dating Walter Wanger with a "chaperone" because he stars her and his divorce isn't final — has inherited the ele- gance. First order was — out with the flock of mirrors ! Joan doesn't want to gaze ad- miringly at herself all the time.
CONJA HENIE is back at work in ^ Hollywood. She'll make two pictures this year, at $200,000 salary apiece. Having already collected a splashy sum from her personal appearance skating exhibitions, she can afford to contemplate a new ro- mance.
NORMA SHEARER continues to con- centrate on her return to the screen, and when Norma concentrates there is really little time for anything that would sidetrack her. Consequently, her social whirling has been scant. She's given a couple of small, informal dinners at home, showing a movie afterwards. Norma has no intention of leaving the beach house where she and Irving Thalberg were so happy. She hasn't redecorated; carrying on means remembering to her. When she steps out it's with Douglas Fairbanks, Jr., a neighbor, or David Niven, once the beau of Merle Oberon, her dear friend. (Merle, over in London, has a striking tendency for an amateur golf champion there.) But the other evening when Norma dined at Joan Crawford's she specifically chose David instead of Doug. The occasion was Franchot's birthday and there's tact in not bouncing in chummily with the head of the house's predecessor.
THE "Go East" plan is gaining momen-
1 turn ; will be adopted even more widely if John Preston, latest Hollywoodian to give it a try, comes back to pictures as a "new bet" from Broadway. John, whom you've probably seen in action pictures, like "Beast of Borneo," has been in Hollywood
2 years; made 12 features. Tired of the typing, John lit out for Broadway, will
See what happens when boy meets girl s boy friend! Here's the story in pictures. First, left: Humphrey Bogart wants to know what Wayne Morris means by taking Priscilla Lane out. Next: Priscilla says she can explain everything, but — continued on the right.
take a part in a stage play, and see if he can get, via New York, the kind of con- tract not available when a player gets into that taken-for-granted spot so many actors face after they've been around the film studios for some time. John, whose real name is Andrew Jackson Rylee (claims direct from the Andrew Jackson, by the way) hails from Texas, got into pictures via the football gridiron, though he had acted in stock in the Southwest. That was before he was signed up for the famous Olympic Club football team in San Fran- cisco. He was Jack Rylee then, former Texas U star and ex-actor. Tall, he's six- two in socks, athletic and handsome, John was a "natural" for outdoor leading man roles. So much a "natural" he was kept at
Will Hollywood "discover" him again? Below, John Preston, cowboy star, said he was fed up with horse opera, and set out to return to the stage to prove he can act as well as ride.
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The two boys who like the one girl, aren't in the humor to get acquainted and be pals, so Humphrey Bogart and Wayne Morris just glare when Priscilla Lane in- troduces them, above. Right, now every- body's sore. It happens in "Men Are Such Fools." It would!
it too long, he thinks. Anyway, he was in New York only a day or so when offers for screen tests were made. He said no — he'd do a play first — and get "discovered."
JANE WITHERS is the only child star •J who hasn't been the victim of a law suit as soon as the star salary started. Shirley Temple was sued by her first agent. Freddie Bartholomew is acting for peanuts, comparatively; he'll get $100,000 during 1938 and after he pays his taxes and pays off his lawyers he'll have just $4,000 left in the bank. Tom Kelly now gets $100 a week, which landed him on the front pages ; it seems his pa has only been allowing his grandma $3 a week and wants more. Edith Fellows has been to
The quaint and the modern! Jeanette MacDonald in costume for "Girl of the Golden West" is seen below in the door- way of her portable dressing room — built on wheels — on location.
court to get her new deal for $300 a week legalized ; a year ago her career was im- periled when her mother sued her grand- mother for her guardianship. The grand- mother, who raised Edith under great dif- ficulties, won the right to keep her. Edith also has been sued, by her former singing teacher ; he wants $1999.99 and he doesn't plan on settling for a cent less.
r IN ALLY Alice Faye has had time to I pick out a honeymoon house. She and Tony Martin settled at the elegant Sunset Tower for they had no chance to go choosing around. But when they finished their last pictures they went domestic with a wow! "The neighbors objected to our practicing our singing," Alice mutters when you quiz her on why she gave up the apart- ment. She's really sentimental beneath her calm attitude towards her marriage. She wanted a house where she could order the meals and be a wife in grand style, just like a movie heroine. Tony personally sees to it that there are always fresh flowers ; he knows they give her a glow. When she was a chorus girl she dreamed of such a luxurious finale.
SAM GOLDWYN never recovered from the cracks about the failure of Anna Sten. Figuring that if one method flops, the opposite slant should be a click, he
kept Sigrid Gurie out of sight. She was to burst upon an awaiting Hollywood at the preview of her adventures with Gary Cooper in ancient China. But, after two years of waiting to mix with the other stars, it would have to be that very week that Sigrid would come down with a severe cold.
IATEST from the Gene Raymond-Jeanette I— MacDonald front : Jeanette has thrown away her swell riding habits and now rides blithely in blue coveralls. Now she even presents hilarious impersonations. You should see her do Garbo.
THE stardom conferred upon sisters Pris- ' cilia and Rosemary Lane hasn't turned their heads. They drive their new cars (Fords) without any nonsense such as chauffeurs. They are agog whenever they sight a film celebrity, instead of being self-conscious about their own luck. But here's the piece de resistance : they still share the same bedroom. They have a spare room, but they reserve it for guests. When their sister from Chicago goes home Wayne Morris hopes he'll rate a week-end invitation. He's practicing up on his man- ners and riding, for Priscilla — his'n, he hopes — is a female Buck Jones. The fel- low who loves her has tojove a horse.
m
ills
Putting the clinch on a love scene for "Kentucky Moonshine," are Tony Martin and Marjorie Weaver, above, a new romance team we think you'll like.
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Adventures in Perfume
Consider perfume as a definite cos- tume accent. Here are notes on how to choose— how io use
By
Courtenay Marvin
Perfume preferences: Right, Miriam Hopkins sprays a mist over her curls. Below, versatile Gracie Allen is an ardent collector and gives her exhibition a dramatic setting, while Cecilia Parker is a devotee of gardenia. The spray method is highly approved.
"HE orchid has a special place in my perfume affections. Once, in the early days of my career, I , had a terrific attack of stage-fright. For a moment I was completely overcome, then I became conscious of the warm sweetness of my perfume. It seemed to reassure me and restore my poise, and so this fragrance has a definite meaning for me." Thus reminisced Irene Dunne one time when we were talking about perfume.
Your perfume should do two things. First, it should create an effect upon you. This is most important. And second, it should create an effect upon others. The in- spirational and up-lifting effect upon the wearer is great. Fragrance can change a mood instantly ; it can give you confidence, a sense of happiness, beauty and well-being. Stars know this and that is why they have individual perfume loves. It is a subject on which they like to ex- pand, usually with some anecdote or personal experience, and many of them are perfume collectors. They collect
hundreds of odeurs in beau- tiful bottles and get as much pleasure from these collec- tions as others hobbyists do from their stamps, rare books, or whatever their inclination.
Perfume is a sentimental thing. It has great power to make and revoke memories. There is hardly a girl ruminat- ing over some lost or retained beau who will not recall that on important moments she wore this or that perfume. And how a whiff from some long packed-away garment brings a forgotten picture before our eyes. And men, too, find a strange stirring of memory in perfume. Because perfume be- comes a person. Norma Shearer has expressed a fondness for lilac, because it reminds her of her Canadian home when she was a very young girl. Margot Grahame tells me she would not make a picture without using a particular 'perfume, according to the mood of the character she is playing. Strangely enough, in "The Informer," she used English lavender, perhaps because this is associated with her native England. Claire Trevor likes sweet pea ; Carole Lombard, Mary Carlisle, and Alice Faye are gardenia devotees, while Simone Simon likes a type that breathes the lush sweetness of a forest on warm days, and Miriam Hopkins likes fresh, breezy scents. Loretta Young's favorites are blends of soft mystery, so that you never know quite what she is using, and Rosella Towne has revived the fad for scented rose beads, a favorite of a past generation.
We are told that perfume should express our personal- ity. That is right, but how many of us know our own personalities well enough to make them good guides?
70
Why not choose perfume according to costume colors? Since your warm weather wardrobe will probably boast a number of the new and gorgeous tones, to carry out this idea, you'll need several perfumes. Well, here's the solution to that. Fortunately, the finest perfumes may be had from junior sizes, well within our budgets, to large sizes in containers that are works of art, themselves. A collection of the junior sizes gives you a perfume wardrobe without ex- travagance. So suppose ygu're wearing one of the new pinks — and practically everyone will be — then you might try some of these florals : Geranium rose, a lovely thing. And I happen to know one eau de Cologne of this variety that makes a fine daytime per- fume; a true rose, not over-used and very, very romantic and feminine ; carnation, which goes beautifully with your tailored jacket, reefer, spectator sports outfit and is also divine for dancing and roof gardens. Though a very sweet perfume, its spiciness prevents a cloying effect.
Perhaps you like the new blues, and they are something to get excited about ! Muguet (lily-of-the-valley) seems the perfect ac- companiment. Rumor points .to a great popularity in this for the days ahead. I gather that it's headed for a fashion high- spot. It's fragile and wistful and at the same time exciting. And it seems to belong in morning, noon or night.
With shades of violet and soft green, a violet, lilac or sweet pea seem right.
Gardenia, camellia and jasmine, all some- what related in their fragrance type, seem to belong with the chic that goes with black or white. This trio, too, is a smart perfume accent to crisp white pique, organdy or lace accessories. And because the gardenia, especially, is so definitely this flower, when you wear a real gardenia boutonniere, don't make the mistake of using another per- fume. This causes a distinct fragrance clash.
For high, brilliant colors, then an exotic blend seems the answer, and there are so many, designated by French names and phrases, Paris street addresses, numbers and plenty of good English provocative words. Just now I'm enjoying a French im- port with an English name. When I'm asked what I'm using, my answer makes a kind of joke.
Many of us will wear flowers, fruits and birds on our new hats, and we'll wear the fruit and flowers in jacket lapels and on our street and dancing frocks. Then there should be some relation between our ac- cents from nature and our perfume.
On the point of direct personality, here's a thought that turns the usual "perfume for your type" tradition up-side-down. If you are the quiet, home type of girl, then use a very, very exotic, sophisticated per- fume, and see if it doesn't help snap you out of your quiet reserve. Or, if you hap- pen to be just too, too Dorothy Lamour- ish, try a soft floral — something reminiscent of flower gardens and quiet, pastoral scenes. The point of these suggestions is contrast.
Margot Grahame also gives another slant on perfume. "My greatest extravagance is perfume," she confessed. "I think it should be good, or it is better to use none. But today there are so many fine perfume dilutes, toilet water, eau de Cologne, es- sence, infusion and so on, all so lovely." You can use them lavishly after your shower with a satisfying sense of daintiness and light fragrance, confident that you will never be considered in bad taste in the most business-like of offices. Then, if you go on to personal engagements, the purse flacon answers the need for a little more glamor. For perfume can do so much for you. It can make you feel your best, and this confidence is at the root of actually looking and acting that way. So far as per- fume is concerned, my sincerest advice is to pamper yourself in this respect. It pays !
Y<
ours -hor Love iness
Accessories That Highlight Your Very Best Points
Vl-r^J l~^€'& f&%S.^
Liquid Lip Tone is a new idea for lips that won't come off.
A LIQUID that tints your lips to rich warm color, that is greaseless and smeariess, that does not rub off on table linen, cigarettes or the caressed cheek, sounds like a long dreamed hope come true. Lip Tone by Princess Pat is this — and more. In a container, small enough for purse carrying, you find an applicator that seems' ideal for creating a clear, perfect lipline, a bless- ing in itself. Apply Lip Tone, let dry a second or two and marvel at the appearance and feeling of naturalness you achieve. Lip Tone does not dry lips ; it seems a protector that keeps them soft and young. It stays in place re- markably long and comes in four beautiful shades. Above, vou get an idea of what it's like.
The daintiness problem finds an answer in
usually Nonspi.
The well-dressed nail wears Glazo in new Tropic hues.
/^HANGING nail polish, according to costume, oc- casion or mood, as you would other accessories, is just an- other thought for the girl with a true feeling for fashion, and a prac- tical one, too, when you don't have to make too much outlay for a nail polish "ward- robe." Fortunately, you don't with the new Glazo Tropic, Congo, Spice and Cabana, all selected by fashion experts. The formula for this cream polish, too, has been brought very up-to-the-minute, with longer wear, ease of application and brilliant lustre as- sured. The well-known bottle is pictured above, filled with nail glamor for from dawn to dusk engagements.
PLEASE make this shopping note : "Look at Seamolds by Flexees." If the beach and swim situations have ever presented you with a figure problem, I think it's solved in these lovely swimsuits, for Seamolds are created on the principles of the finest foun- dations ; they restrain or release where they should. A front and back panel flattens and smooths ; that cleverly designed brassiere top will do the utmost for you here, mold and uplift if you are large, suggest graceful curves if you are small. Straps are adjust- able in three lengths for full comfort ; or wear them in criss-cross or halter style. In Lace Lastique or Silkspun in a self-design, or plain Satin Lastique. See the latter in
Seamolds mean your best figure, comfort and chic.
Ching blue, coral or cream- white. In maillot or the style shown on our model.
THE right choice of an un- der-arm aid is often a prob- lem. Women want it to do a number of things ; to neutral- ize beyond doubt, to keep skin perfectly dry, to pre- serve clothing and be sting- less in application. Nonspi deserves a high grading in these requirements. The most delicate and sensitive skins have enthusiastic words for Nonspi, so if this is your worry, do try it. A bouquet, too, to its neat, efficient bot- tle sketched. A perforated top eliminates dauber or cotton. In all such preparations, it is very necessary to follow di- rections carefully. You will discover that Nonspi is as quick and effective in appli- cation as in its gratifying results.
F you enjoy coming across old beauty friends in new packages or containers, then you might like to know that Bourjois has made an attractive spring dress for Eve- ning in Paris Eau de Cologne and matching perfume. There's an appealing soft mystery in these preparations that accounts for wide popularity, and the combination of the per- fume and the milder eau de Cologne keeps your fragrance in harmony. The package mentioned makes a lovely gift for yourself or others and also a good bridge prize.
THE Kleenex Pastel Pack of generous, strong, yet soft, tissues is a smart idea for the hostess who likes a sense of color harmony in bath or on dressing-table. A choice of four colors come in a box with "window" front so you can see exactly what you want. The thoughtful hostess equips guest rooms with personal conveniences for over-nighters or week-enders, and the Pas- tel Pack enables you to distribute even cleansing tissues with a sense of color harmony appropriate to room or guest. For personal use, you can match tissue tones to your favorite cosmetic bottles or boxes, too. Besides the obvious uses for these tissues, they serve many others. They are sanitary for wiping the baby's mouth, for children's handkerchiefs and so on and so on. C. M.
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At home! Mr. and Mrs. Joe Penner and their pet, by the pool.
Tops on Credit- Low on Cash
Continued from page 23
"I'm not grumbling about my present salary in itself. Anywhere in the world, except in Hollywood, it would be a handsome sum.
But—" , , ,
But in Hollywood, you're expected, when you've "arrived," to keep up a star's front. Jon said ruefully, "Suppose I want to take Simone Simon or Andrea Leeds out danc- ing Do you realize that it costs from $iU to $30 for the sort of evening you would want to offer such sought-after young ladies? Maybe that's why I'm buying my cars, and even my clothes, on the install- ment plan!" ,
To reduce the stark facts they must face to dollars-and-cents figures, we give you an itemized account of their cash problems. Thus expenses, for either man or woman:
$3 00 for lunch for two at Vendome or Brown Derby) ; Turkish baths and massage (almost necessity for man or woman after a strenuous day's work) ; personal maid, if any, secretary, etc., etc.
The expenses of a star aren't minimized by the fact that these youngsters have only just begun. There are agents' fees, taking ten per cent of that small salary. There are extra expenses for publicity. For fan photos. And sometimes, for assistance in answering the thousands of fan letters that pour in after one srpash picture like "Kid Galahad or "Hurricane."
There are advertisements in trade papers —pride alone forces you to take just as big an ad as your co-star, who may have been in Hollywood for several years, with constant salary raises. There are sometimes, for the girls, maids, secretaries, and other helpers, for if you devote every waking minute to acting and posing and training for a hit picture, you can't spend much time keeping your own clothes in order— or doing your housework ! And through it all, for the first important year which, in Hollywood, can make or break you, you're earning no more than you might m some less hectic profession where your expenses would be nil! What's the answer? That's what the youngsters are wondering.
But before passing judgment on Holly- wood for creating the problem, consider these facts. Each year Hollywood signs up hundreds of likely newcomers like Morris or Hall, Marjorie Weaver or Andrea Leeds. Sometimes they click; more often they play one or two small parts, in B pro- duction, and then drop out. Meantime, Hol- lywood generously gives them their chance, and spends small fortunes on voice lessons, dramatic coaching, publicity, make-up ex- perts, photographers. And only once m a thousand times is this initial investment repaid as in the case of an Errol Flynn, a full-fledged star after his first picture, or an Alan Curtis, receiving national fan at- tention with a single performance !
Remember, too, that after they ve proved themselves in several pictures, salaries are adjusted (sometimes at the studio's own suggestion) and the low on cash period is over. Until then— who knows ?— even a J on Hall may prove a flash in the pan, unable to sustain his success with another good performance !
Wayne Morris told me, "Frankly, 1 don t
Credit Approx. salary : weekly
$100.00
Debit weekly
Balance
$10.00 agent 5.00 taxes 2.50 relief fund 15.00 rent
15.00 transportation
incl. car payments 5.00 laundry, cleaning
30.00 food, cigarettes, liquor, etc.
10.00 fan photos, clip- ping service, pub- licity, etc. 5.00 make-up, barber, hairdresser, etc., etc.
$90.00 85.00 82.50 67.50
52.50 47.50
17.50
7.50 2.50
So the remaining $2.50 must cover such expenses and pleasures as contribu- tions to family expenses, if any; insur- ance; savings; clothing; and for a feminine starlet, stockings; for a man, taking his girl out; club memberships, riding, golfing, swimming expenses (it costs $1.00 to swim in the Ambassador pool) ; incidental entertaining (allow
go in for much 'front' because I just can't see the sense of throwing money away. And no matter how little or how much I'm earning, I save part of it."
And this likeable youngster solves the problem by sternly forbidding himself all extravagances, contributes to the family in- come, and lives as modestly as he might in any other small town. Oh, yes, he's buying that yellow roadster on the installment plan!
Pat Knowles and his wife resorted, fin- ally, to a business* manager who gives them each a modest allowance and not a penny more. For an extra sum, whatever the lofty purpose, they must sign a special paper and then wait thirty days for the cash.
"When I first came over," Pat admits laughingly, "I thought being a Hollywood star was all pretty fine, and we moved right into Bill Fields' former home at $300 a month. Then came a rude awakening and then came the business adviser,_ who moved us right out of the mansion into a more modest place, star or no star!"
(After "Adventures of Robin Hood, the scouts are saying, even his own manager will be pretty deferential to this potent box- office threat.)
Mary Lou Lender, chosen by Harold Lloyd for "Professor Beware," found her- self in difficulties when the lead in a smaller picture brought her unthought-of acclaim. If you've written her a fan letter, you may be still waiting for the answer. Secretaries, stamps, and stationery in large quantities cost money, and Mary Lou admits she is still in the small-bracket class financially I "I call myself a typical Hollywood Cin- derella," she smiles, "for whenever Im photographed at the studio, I wear glamor- ous and expensive frocks— often borrowed from a leading department store. Then, at home, I go back to my own modest little numbers."
Alan Curtis admits frankly that he doesn't budget his income. "A person can't really save until he makes a salary," is the opinion of this handsome newcomer. "You don't really gain by doing so. Clothes are a necessity for a struggling actor, and. when you spend money for them, it's like invest- ing money in a business. If I do give way to the temptation of splurging once in a while, I balance things by staying home the rest of the week. And I don't go on week- end trips to Palm Springs or Arrowhead. Too expensive !"
Fireside chat! Harriet Hilliard, film and radio songbird, and her husband Ozzie .Nelson, popular orchestra leader, seen above in the living room of the.r Hollywood home.
72
Full-fledged stars who have passed through the lozv on cash period have ex- cellent advice for those now in the throes. Dick Powell says earnestly, "You're darned right — it is a problem to keep up an ap- pearance not warranted by your salary and yet demanded by screen popularity. At first I tried to do the things expected of a movie star; then I began using my head, and figured things from my own angle.
"For a young man, the toughest problem is in finding inexpensive places where you can take girls. The girl's first thought, naturally, is to wear her prettiest frock — and if you don't think quickly you find yourself sending flowers, suggesting dinner at the swankiest place in town, and then somewhere else for dancing, later.
"Think before you phone !" Dick advises. "It's possible to sell the girl on the idea that you're leaving the studio late and per- haps it isn't worth while to dress. Then — you've been waiting to see such-and-such a movie, and has she seen it? Then, after- ward, it's possible in Hollywood to find some interesting — but inexpensive — spot for a bite of supper."
Maybe, for some, the low on cash period is good training, for you'll notice that Dick and his lovely wife, Joan Blondell, are de- cidedly not among the "heavy spenders" of the colony, and one of their favorite eve- nings is spent record-hunting at a Boule- vard music store !
Bette Davis, another who graduated with honors, insists that newcomers are all wrong in considering "front" important. It just isn't so. "What you do on the screen — that counts !" says Bette unequivocally. (And only now, when she has truly arrived, in this popular star moving from her modest Hollywood cottage to a Beverly estate ! )
Maybe that's why Bette's protegee, Jane Bryan, has solved her problem by living like an ordinary citizen. "I've never cared much about clothes, and to go out just once a week is enough for me. So my prin- cipal extravagances are records and books."
Nevertheless, Jane does admit a bit of amused embarrassment when the studio asked her to look especially lovely for a personal appearance. The budget was low so she avoided the high-priced shops, and rushed down to a wholesale place just like you and you and you. Then this twinkling new starlet had to borrow the proper ac-
cessories from a girl in the Warner pub- licity department !
Marjorie Weaver manages by sheer genius to stretch out her salary to cover any emergencies, and this wouldn't surprise the girls who were with her in the Kappa Kappa Gamma house at University of Indiana. There, on an allowance of $50 a month from home, Marjorie managed to look smarter than anyone else, even though many of her sorority sisters received princely sums from their wealthy families. Nevertheless, Marjorie avoids night clubs and such, and her idea of a good time is to take an erstwhile sorority pal, Judy Parks, on a "double date" to Los Angeles' China- town for Eggs Foo Yong. (Maybe it's easy for Marjorie to skip Hollywood dates, con- sidering her secret marriage back in Il- linois in October, which had the town guessing for weeks!)
Two rising stars in one family, Ann Sheridan and Ed Norris, can't even go ex- travagant when they combine forces. Pur- chasing a small ranch home in San Fernando valley, the Norrises decided to have the house remodelled, and then dis- covered with dismay that the family budget wouldn't stand moving to a hotel while repairs were under way.
Ann was resourceful. "Let's just sit it out," she suggested. So the Norrises, Hol- lywood starlets both, lived precariously in one room while the rest of the house was torn down and rebuilt around their heads.
That's the story of a few Hollywood youngsters who are struggling to make ends meet until salaries catch up with that elusive wench, Fame. Some of them are posing in clothes for fashion magazines — to receive free samples from the manu- facturers. Others are dining at certain restaurants where celebrities receive liberal discounts. Skimping on this — saving on that — remember their experiences, the next time you start envying new Hollywood discoveries !
Maybe the studios should consider se- riously the suggestion of a prominent agent, M. C. Levee. He handles such stars as Les- lie Howard, Paul Muni, Joe E. Brown, Joan Crawford, and others, but he knows only too well the plight of the newcomers. He advises a "front fund" for the young- sters, to be held in trust at every studio as a drawing account for potential stars. That's one way of solving the problem !
Fine glassware is one of Billie Burke's proud home possessions.
Animal Acfors Draw Star Salaries
Continued from page 27
not be used in scenes where they were supposed to be of the original size.
It appears that, as soon as a studio be- gins to have difficulty in procuring" a cer- tain type of animal, all the animal owners in the country get wind of it, and a pre- mium is immediately set up on the per- former required. In the instance just cited, for example, the price demanded for a third pair of lion cubs (whose services had to be solicited because of further rains in Palm Springs) was $100 per week, take it or leave it. This, according to lion owners in California, was a "jinx" picture, and steady work for lion cubs could at best be a matter of conjecture.
"That," Russell Pierce informed me, "was a typical instance of things we meet up with in working animals into pictures. And of course," he added, "there are al- ways, in animal contracts, a trainer's fee and the trainer's board and room that must be provided for, along with guarantee, in many cases, of a definite period of work."
What started the animal trainers in re- garding "Her Jungle Love" a jinx for them isn't quite clear, but certainly the jinx continued to operate even after completion of the film. It culminated with the death of Jiggs, the chimpanzee, long one of the highest-paid animals in pictures. Jiggs was owned by Mrs. Jacqueline Gentry. You saw him in "Jungle Princess," and in- numerable "Tarzan" episodes. His last pic- tures are "Dr. Rhythm" and "Her Jungle Love." For his work in the latter, Jiggs' salary was said to be $400 a week, plus the expenses of his trainer.
Consider another recent example of "jinxing" that eventually brought the charge for an animal's services into mul- tiple figures, necessitated by the search for a baby seal to appear on a raft with Martha Raye for "The Big Broadcast of 1938." To obtain a seal that would flip about and, as the script required, throw a scare into the bewildered Martha, a ship- wreck victim, would not have been difficult. A real problem arose, however, from the fact that a baby seal, and only a baby one, would do for the scene. This, in the month
73
of December when all baby seals are sup- posed to have grown up, was a stiff order Only a case of late-mating, a rarity, would produce what was wanted.
With calls issued to animal farms lo- cated in Nova Scotia, Florida, and points west as far as California, anxious days went by without any luck. Cameras waited and the keepers of production budgets swerved with worry. Then finally, from Balboa, California, came a letter. A lobster fisherman, it seems, tending his lobster pots off the coast, had found, stranded on a rock, a sure enough baby seal. "I am keeping him in a barrel of water," he wrote, "and will leave for Hollywood with him in the morning."
Faces brightened at the studio. All was arranged on the set for immediate "takes," and Paramount Pictures bided the arrival of the fisherman from Balboa.
In lieu of the fisherman, however, there came, in the afternoon mail, a second letter, doleful and distressing.
"On my way up," it read, "the seal died, and so I have gone back home."
These instances bring out a few of the reasons why animal talent for pictures ex- acts a high remuneration. Daily and highly specialized training of trick animals, feed- ing costs, transportation and climatic dif- ficulties are other intricacies that must be faced. And so, asking nothing in appease- ment for temperamental disturbance of their charges, animal owners feel their prices are not unreasonable.
High up on the star list, is a little mon- grel named Corky, whose chief claim to fame thus far is his work with Irene Dunne in "Theodora Goes Wild." Corky's charm, according to his joint owners, Mr. and Mrs. Henry East of Hollywood, lies in the combination of his great zest for fun and his ability to hold one ear up and one ear down, all at the same time. Recent pictures giving important duties to Corky are the Joe E. Brown starring feature, "When's Your Birthday?" and the Bobby Breen picture, "Hawaii Calls."
Typical of receipts for Corky's services is the $90 per day that was paid for his part of the antics in the first-mentioned picture. Getting himself "on call" for a period of four and a half weeks of the production, the impish mixture of several breeds of dog gathered in for his kennels a total of close to $2500 spending money and added to this was a handler's fee of the first order. Coming up shortly in sev- eral important productions, Corky is des- tined to add materially to his figure. Also from the Henry East kennels is the better- known but lower-figured Skippy, who is remembered for his conveyance of at least twelve distinct canine emotions as Asta in "After the Thin Man," and for the natural- ness of his rompings with Cary Grant in "The Awful Truth." Though Skippy has thus far received less per picture than his kennel-mate, he works more often than Corky and, before he has made many more screen appearances, is expected to show compound increases in salary.
To take up once more the comparison between screen animals and the human artists may we, without too much dis- respect, see how our mythical highest-paid Hollywood "extra" player fares when stacked up against penguins? Here, as before, it becomes shamefully evident by contrast that the "extra's" maximum of $50 per week is a mere pittance. For, in checking with the various penguin farms and the studios, we find that these birds, definitely of the elite among the film com- munity's higher-paid creatures, ask, in their natural full-dress, on the average of $65 a day, and will generally not work unless at least a week's continuous employ- ment is assured them.
Based upon number of performances in pictures where a highly trained and "movie-broken" penguin has been required, Hollywood's No. 1 penguin at the present time is unquestionably the individual known out here as Pete. For a figure located between $75 and $100 a day, varying upon circumstances, Pete may be persuaded to brave the lights and the exactments of movie scripts — all provided, of course, that his handler is taken care of in the matter of trainer's fee, room, board and trans- portation, and that both are given a definite period of working days. Closely following Pete in salary demands is a penguin named Oscar, who, similarly requiring the best for his master, will face the lenses for $75 per diem.
Inadequate without the name of Billy, prize property of the Los Angeles Alli- gator Farm, our list of Hollywood's upper- bracketed animal stars must by all means include this 250-year-old reptile who is definitely a veteran in the film city. Cap- tured at the tender age of approximately 220 years in a swamp in Louisiana, Billy has the distinction of having been in pic- tures for thirty-two years. Appearing prominently in "Sparrow" years ago with
And this "zephyr frock" is also a favorite with Shirley.
Mary Pickford, he has since given com- mendable performances in a list too long to tabulate here. .
Although Billy is still comparatively young for his species, he has, we are told, the desirable characteristic of being what in alligator circles is termed a "leader." As such he has proved himself to be in- valuable in the many picture sequences that have called for a herd of the barky- skinned reptiles to swarm down upon peo- ple under the generalship of one of their number. And added to this, Billy has the trait of perfect harmlessness while por- traying ferocity at close range. For thus doing what the good picture alligator is supposed to do, and doing it at the right time, Billy has an asking price of $100 per day. An indication of his ability to get what he wants, moreover, is the fact that he has never gone through a day at a studio for less than $50.
In the historical plays, "Wells Fargo and "Buccaneer," where a combined total of five hundred horses were used, highly
Shirley Temple's summer wardrobe includes this taffeta frock.
trained equines for special performances brought daily for their owners $25 apiec~; and for horses in the same productions per- forming lesser special duties there was paid a sum of $10 each, per day. One of the $25 variety, a pinto named Junior who does several sequences with Joel McCrea in the first-mentioned picture, so impressed lead- ing-lady Frances Dee, it is reported, that she proceeded to purchase Junior for her co-starring husband, even before the pro- duction was finished.
Another "picture horse" gaining promi- nence as an individual is Leo Carillo's Sui Sun, who plays currently with the im- pressive Latin in "Girl of the Golden West." For Sui Sun's specialized acting in this picture Carillo was given a check for $100 each week of the production, and along with it went a liberal allotment for stable expenses. Considering that all horses employed in capacities such as have been mentioned must at one time or another have been "movie broken," and that there must be present at all times during the filming of horse sequences, according to law, at least one handler per horse, it may be understood where some of the money goes.
With pelicans and sea gulls flying wild all up and down the Southern California sea coast, it would seem at first conception that bag-fulls could be gathered at will when the call for their services arose. A California State law, however, disallows the capture of either of these adornments of the tourist-conscious commonwealth's ocean front, and so there are no end of special meetings, special permits, and gen- eral red tape to be gone through before birds of these two species may be taken from their native haunts. Result of which, when the order went out during production on Cecil DeMille's "Buccaneer" for two large pelicans for special effects, the ama- teur sportsman who finally maneuvered the bagging was paid $10 for every day the satchel -billed fowl were on call, and for himself, as trainer, received a substantial trainer's fee. Cranes, hard to get due to their scarcity in these regions, similarly bring approximately $75 per week, and for tropical birds, such as those seen in the Lily Pons picture, "Hitting a New High, there is a slightly better price.
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Here Shirley models a Princess style of lively print fabric.
Delayed Discovery
Continued from page 29
often hailed as Khoda Kahn, and I must say that is a name that never fails to bring pleasant recollections." Which is quite un- derstandable.
It isn't every actor who speaks as frankly about himself as Cesar Romero does. If more were like him in that respect there would be far more accuracy, but we fear far less excitement, in the records written about Hollywood personalities.
"When I went to Hollywood," he said in answering questions about his early ex- periences in pictures, "all I wanted was a job in pictures. I had no preconceived no- tions as to the kind of parts I wanted or would do."
By the time he was coming along as a stage actor the theatre in New York and elsewhere was well on its way to its present state of very limited activity and sparse opportunity for the player. Romero took his hard knocks trying to get somewhere. Nothing more eloquently revealing of that fact could be introduced than his own re- cital of what he had been doing recently in New York. For he listed as one of the high-lights of his trip the fact that a pro- ducing firm had phoned him an offer to appear in a stage play. He turned it down ■ — picture commitments are more important. But there was no mistaking that Cesar had gotten a real thrill out of this experience. "It is," he said smiling broadly, "the first time a manager ever called me up and of- fered me a part on the stage. / always had to do the asking !"
His reputation as a dancer came close to suffering a severe set-back during this New York holiday. Cesar never set him- self up an endurance dancer at one of those marathon strutting parties that were so popular back a while. But it's another matter when a man meets a girl he wants to dance with but who not only has the enthusiasm to dance and dance and dance, but the physical energy to call for more and more encores just at a time like this, when the chilling rains of a moist and frigid spell of weather has given him
what is commonly called a "common cold."
The girl who danced Cesar down was Sonja Henie — and he frankly tells you he was just about all in, and marvels the more about Sonja's magnificently played practical joke on him because this hap- pened at a party given the skating star after her triumphal engagement at Madison Square Garden in New York — where she played six performances of as gruelling an athletic effort as any champion ever at- tempted. Those thousands who paid in a total of $156,000 at the box office of the Garden wanted their money's worth, and got so many encores from Sonja that maybe she was taking a bit of private revenge on Mr. Romero, by doing dancing encores with him. "What a girl!" said Cesar.
There is a bit of a sidelight on that which may have added somewhat to Cesar's handicap. Born and brought up in New York, he is no stranger to that malady known as a cold. But this one was coming most inopportunely. You see a fortune- teller at a party in Hollywood told him that on this trip he was planning he would meet THE girl. Romance for Romero ; an added fillip to his vacation trip back home.
A dashing little number made of an all-over linen print.
BUT the circumstances under which he was to meet THE girl were not altogether reassuring. He would, the cards said, be taken ill, perhaps have pneumonia, and dur- ing this not-at-all welcome seizure he would most certainly meet THE girl !
For the first time during his four years in Hollywood, Romero's fortune seems to be in his own hands — that is to say he is being given the recognition necessary to apply his talents in the creation of worth- while parts. And, fortune-tellers to the con- trary notwithstanding, he appears to be taking romance into his own hands also. If you saw "Happy Landing" you noticed of course a beauty by the name of Ethel Merman in the cast along with Sonja Henie, Don Ameche, and Cesar. Well, they — Ethel and Cesar, that is — made several of the night clubs together during their co- incidental visits to New York. And now that both are back in Hollywood you also notice that their names are linked very frequently in the news notings of the social side of Hollywood life.
Crazy About Radio
Continued from page 34
heard no more about appearing on Jack's show. Then, one morning —
"You still want to be on my hour?" Benny asked, over the telephone. "Okay, we're rehearsing tomorrow."
Probably all you fans will recall Andy's debut in one of the first of the "Buck Benny" skits on the air last year. One word describes him : immense.
Almost overnight, Andy's fan mail doubled. Why hadn't he been on the air before, was the tone of the majority of missives. Invalids and shut-ins who had never seen him on the screen particularly were impressed, although untold numbers of letters arrived from his film fans. Judging by the reception, the whole nation was made Devine-conscious. Even Benny was the recipient of thousands of letters, congratulating him upon the addition of the gravel-throated comic.
Following that first broadcast, Andy con- tinued on the program for twenty-six consecutive weeks. After every airing, he would seek out the star of the show and beg that he put him on the following week.
"Can't you find a place for me, next Sunday?" he'd beseech.
"Well—"
"Aw, Jack, see if you can't. Just one more week."
"And I didn't miss out once on those twenty-six weeks," Andy told me, elatedly. His blue eyes sparkle like a youngster ex- periencing his first real thrill whenever he becomes enthused. "Gosh, if Jack had only known how much I really wanted to be on his program ! You see, for years I'd had a yen to go on the radio. Most of my friends were appearing as guest artists, but never me. I couldn't make the jump from pictures to radio. They told me my voice would never make it. I thought my big chance had come when Jack asked me that day at Coronado if I'd like to be in his show. Then, I had to wait a whole year."
It was the longest year in Andy's life, that one. The screen featured him, in good pictures, but his heart lay now in radio. It was a goal he couldn't attain. Can't you picture his impatience, as he awaited the call from Benny that seemed never to come ? His natural reticence forbade him broaching the subject again, on those occa- sions he'd meet the air comedian at parties and around the film colony — all the while he would have given an arm to speak up.
But no one suspected this craving of Andy's to broadcast. It was his secret, his alone. And so, until Jack Benny decided to experiment and try out Andy's voice he remained — if we must wax poetic — "a ship without a rudder."
Arrived in Hollywood the small-town radio characters, the universal favorites, Lum and Abner. Andy met them shortly after they reached the film colony, and immediately struck up a warm friendship.
"We had a lot in common," he tells you. "They came from a small town, just like I did — I'm from Flagstaff, Arizona, you know — so we hit it off from the very start. Then, when Abner bought a place near mine out in the valley, we spent practically all our time together."
Andy had been on Jack Benny's program several times when he visited his new friends at the radio station, only a few minutes before they broadcast.
Drawled Abner : "Like to be on with us today, sonny?"
"Who, me, NOW?" Andy was too be- wildered by the sudden prospect.
"Sure."
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For More Than Money
Continued from page 65
Mrs. Charles Cooper visits her famous son, Gary, on the set.
"And darned if they didn't write me in, right then and there," Andy explained de- lightedly, his voice skyrocketing to high tenor for a moment. "They changed the script, just like that— and when time ; came to go on my part was ready for me." His homely, good-natured face lit up, as he ran stubby fingers through tousled sandy hair.
That first broadcast on the Lum and Abner program led to others.
"How about me going on with you this week?" he would call one or the other of the pair, and generally the answer would be— "Okay."
But here's the funny part of it— that he might have asked for a salary check never for a moment entered his mind. That he was passing up an opportunity to make thousands of dollars didn't occur to him. He didn't expect payment for what he con- sidered the greatest fun he had ever known. He was having his fun, in his own peculiar way. Who else in pictures but the Devme would have acted in so unprecedented a fashion ! ...
"Maybe if I had another kind of voice I would have gotten a break sooner," Andy remarks. "But on the other hand, if I didnt have this screwy voice of mine maybe I wouldn't even be on the screen. At least it's individual.' .
Andy's gravel voice— Georgie Jessel dubbed it thus— is the most distinctive on either screen or radio. That is one reason why he is such a favorite, sure-fire, when- ever he makes an appearance m either medium. A ready-made audience awaits him, for audiences love the personality be- hind the voice.
It's pretty generally known by now that Andy's peculiar tonal qualities are the re- sult of an accident during boyhood.
"That is," the comedian observes, doc- tors'Mm* that's what caused my voice to be what it is today. I was running with a stick in my mouth, as kids will, when I fell and the point penetrated my throat. Shortly after that, my voice changed from a normal one to its present goofy state.
That fans enjoy this "goofy" voice is seen in their laughing uproariously when- ever Andy opens his mouth in speech. It s gone over so well on the air that Jack Benny's sponsor has placed Andy under contract, to appear on the Benny program for the season. Now, whenever Andy goes on the air, he's PAID !
Mebbe we should ALL be crazy about radio 1
all I've been able to do for Johnny in an attempt to have his deafness cured that I never could have done otherwise. I can give him and Susie advantages when they grow up that I would never be able to give them on the salary I could make on the stage. I owe them something."
So many memories of Spence — memories of so many conversations and arguments we had in those early days— keep crowding_ in on me. I remember when his second option came up at Fox. He was in a blue funk. His salary was due to jump from $1,000 a week to $1,500. That seemed like all the money in the world to him. "They'll never pay it," he prophesied dolefully.
"Other people have had bigger jumps than that," I assured him, "and have been kept on."
"But they were stars," he argued. He has always had an inferiority com- plex where his importance is concerned. Even today he doesn't realize that he stands for anything as an actor in the industry! He seems to feel he is a fairly competent craftsman but that if he has attained a position of any importance it is entirely due to lucky breaks.
In those long-gone days his ambition was to have a contract limiting him to two pictures a year and the privilege of doing stage plays in the interim. I asked him recently what had become of that yearn- ing. "I still hope to do more plays on the stage," he answered, "but I'm still not big enou gh in pictures to dictate the terms of my contract. And the mounting quality of pictures compensates for not being able to do worthwhile stage plays— if I were lucky enough to find them."
Spencer's contracts have always been a source of secret amusement to me. Parts have always meant more to him than money. Whenever his bosses were trying to finagle him into signing a new contract without giving him his raise they would promise him some choice parts. At the mention of choice parts Spence would grab the pen and sign anything for fear those roles would get away from him. In ex- asperation, his lawyer finally sent for Spence's brother Carroll to come handle Spence's business.
He hasn't changed in that respect. Parts still mean more to him than money. Had it not been for Carroll there is no telling what Spence wouldn't have signed to get two parts at M-G-M that he will now get anyhow— the roles he'll play in "Northwest Passage" and "Three Comrades."
It is a far cry from the days_ when Spence worried for fear his option at $1,500 a week would not be taken up, to the new contract he recently signed with M-G-M at a salary said to approximate $3,500 a week.
No fan was ever more of a hero wor- shipper than Spence. He has his favorites and he is in the seventh heaven of bliss when he is with one of them or when people realize he is on intimate terms with someone whom he considers "great." Suc- cess hasn't changed him in that way and I doubt it it ever will.
He has a terrific inferiority complex but success has given him a poise he never had before. Just having people notice him and compliment him on his work has given him a new confidence and assurance.
It is the usual thing to write that almost any actor reminds you of "a little boy." Well, Spence does. His tastes and en- thusiasm are all of the little boy variety. I watched him go through the stage where he was buying polo ponies with both hands
and wondered if he were going Hollywood, although down in my heart I wasn't really worried. He still loves polo but the studio won't let him play.
I watched him go through the stage where he had to own a yacht — and did. I knew he'd tire of that, too. Nor will I ever forget the Sunday afternoon he took a bunch of us out beyond the breakwater in the Los Angeles Harbor for a sail. There is a drawbridge that must be raised to let sailing vessels into the harbor. We came back late in the afternoon when traffic across the bridge was at its heaviest. Naturally, traffic was held up while the bridge was raised to let us through. But Spence, new to navigation and knowing little about steering, couldn't quite get the boat through. Motorists waiting to get across the bridge became irate.
Spence flushed a lobster red. A few weeks later he sold the boat.
He is a sentimentalist at heart but he would die if he thought anyone suspected him of it. That's another thing Hollywood will never change nor cure him of.
When he and Myrna Loy were_ cast to- gether in their first picture — "Whipsaw" — his joy knew no bounds. But after the first day of shooting his spirits drooped. At the end of the second day he went gloomily to the director and asked him to get someone else for the part.
"What's the matter?" the director asked in surprise.
"I guess Myrna doesn't like me," Spence told him, looking like he was ready to cry.
The director spoke to Myrna. ^Next morning Myrna approached Spence. "Now, what's the matter?" she smiled. Spence repeated his tale of woe. "I'll tell you," Myrna confided, "I'm just as timid about meeting new people as you are. In addition to that, I don't study my lines at home because I feel my time there belongs to my husband. I have to study them sometime so the only other time I have is in my dressing room between shots. "But," she grinned, "if it's making you un- happy, I'll play with you between takes — little boy."
They've got along marvelously ever since. I don't believe there is an actress in Holly- wood " with whom Spence would rather
work. • , • i i .11
That's another way m which hell never change: fine an actor as he is, he has to work in a congenial enviroment or he can't work.
Must be love! Mary Lou Lender and Sterling Holloway, in a scene from "Professor Beware."
76
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SCREENLAND
77
A Date with Clark Cable
Continued from page 17
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Clark said at the time that someday he would give me a first hand story on a date with him.
Several months later, my telephone rang one afternoon, and a rather boyish, but low modulated voice spoke from the receiver: "Hello, this is Clark Gable." And when in stunned silence, I failed to answer, _ the voice repeated: "Can you hear me, this is Clark Gable speaking. How are you?" And then concluding that of course it was some boy friend trying to play a joke on me I blandly replied : "You don't fool me a bit. Now next time you call just say you're the King of Siam, and I'll believe you just as much." There was a laugh at the other ^ end of the wire and the voice persisted: "But truly, this is Clark, and I happen to be just a short distance from your house, and I thought you might have lunch with me."
I didn't even bother to powder my nose, or change my dress, because of course I ex- pected no one. Five minutes later a car drove up bv the front gate, and I glanced out the window to see Clark Gable in per- son coming up the walk !
Here I had a date with Clark Gable, and didn't know just what to do about it. Any girl can imagine herself in the same pre- dicament, mentally visioning the perfectly groomed Carole, whom Clark dates. A quick little pinch hard enough to leave a mark on my arm to prove that me was me, and awake, not dreaming, I greeted the famous star, standing at my front _ door. Ten minutes later found us seated m his sixteen-cylindered-open-top roadster, driv- ing down the street.
Clark talked about his new ranch house out at San Fernando Valley, and his cocker spaniel Smokey as we drove along. "I like being a country squire, and lazing around out there in the sunshine and country air," he said. "I have a wonderful cook— too good, in fact. Afraid she's trying to make me fat. You know I was partly raised on a farm in Pennsylvania with my grand- parents. I used to swim in the lake, hide in the hay loft, and - ride a horse— and swipe Grandmother's cookies.
"Smokey and I go for long rides through the brush of the Santa Monica mountains. The brush is full of game and Smokey gets all keyed up," and as Clark talked his eyes sparkled with enjoyment. "Smokey runs beside my horse, chasing a rabbit, losing it, barking frantically. He makes about twenty-five miles to the horse's ten. Once he tried to follow a deer, but he soon found out that wasn't his speed at all. Bob Taylor joins us for a ride now and then. He's another farm boy, raised on a Nebraska farm. Some of the folks who write us fan letters wouldn't find our lives very glamorous or exciting, I'm afraid."
By this time we had reached a popular section of the city, where we selected a restaurant. Clark parked his car at the curb, then noticing he had parked partly on a red zone, he turned on the ignition and backed out again, and we found another place up the street. A girl who dates with Gable need never have fear of landing in a traffic court. He is very thoughtful and considerate of the law and observes park- ing rules.
By this time several side-walkers who had recognized Clark when he attempted to park the first time had spread the word, and he was greeted by a dozen or more people who came running up the sidewalk, in full speed, shouting "It's Clark Gable! It's Clark Gable!" Clark smiled good- naturedly and came over to my side of the
car to help me alight, but before he could open the door he was besieged from all sides by autograph hunters, who popped up from nowhere, so it semed, and girls and women who frantically rushed to reach him. He tried to make room to open the car door to help me out and I took mental note, that this was how it was to have a date with Clark Gable, and that I was in the shoes of Lombard — for the time being !
Finally Clark was able to get me out of the car into the swirling mob, which seemed to be increasing by the minute. Traffic was in a decided snarl, and extra policemen appeared from several directions. Two of them secured our arms and helped us to reach the sidewalk. All of which was so different than I had ever imagined a date with Gable would be like. But this was only the beginning.
Clark doesn't like to turn down auto- graph hunters, and so we'd hardly gone ten feet, with me hanging on his arm, and a dozen women frantically clutching at me, endeavoring to get to him, when Clark stopped and started signing autographs. People stepped all over my toes in the general rush, but their faces were smiling and eager — so I could only try to tuck my toes still further back and hope I'd be able to walk out alive. No one grabbed roughly at Clark, and I don't think I've ever seen a screen star shown more genuine respect and admiration. Though he was surrounded by three hundred people who firmly pushed their way up for autographs, they were courteous.
"That isn't Carole Lombard," was among the whispers floating around my ears — and I think the most ignored, and least care- fully handled person in the crowd on the sidewalk was the girl who was finding out what it was to have a date with Gable !
Clark signed and signed, while at fre- quent times I could hear little rips in my fur coat, as tugging hands sought to gain closer position to Gable. While Clark auto- graphed he talked to me and said he hoped I didn't mind, that this was all in the day's work and that just the minute he signed another fifty we would continue our way to lunch. Thirty minutes later he announced in a most attractive way with his famous smile, and who could refuse those dimples, that he was "really very hungry and if you don't mind I'd really like to go to lunch, and perhaps later I can sign some more autographs"— whereon a mighty cheer went up from the crowd and a path auto- matically opened down the sidewalk. People grabbed his hand and said: "It's such a
Take to each other! Clark Gable and a young fan he recently met.
78
SCREENLAND
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SCREENLAND
79
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80
thrill seeing you, Mr. Gable" and We like your pictures, Clark Gable" and boys yelled: "Hiya Clark!" to which Clark kept right on grinning. As for me, several women reached to squeeze my hand and said: "You lucky girl," while one pretty young thing, with her heart in her eyes, and her eyes for Gable, came right out and said: "I wish I were you!" Others openly commented on "who's the girl with Gable—" and "Wait until Lombard hears about this"— and "Oh, he takes out lots of o-irls" and "That Lombard romance is just publicity" and even from the outer edges of the crowd: "What's the girl like with Gable— what's she wearing?"
Clark took my arm and guided me through the crowd into the little restaurant we had selected, because it was close and we believed would be quiet, and we had heard the food was excellent. As we opened the door, Clark gave my hand a little reas- suring squeeze. He seemed to sense the feelings of a girl who had been an exhibi- tion before a public mob, for the first time.
Now a girl having lunch with Clark would picture a small table in a remote corner replete with white linen and gleam- ing crystal and silver, with perhaps soft music, and Clark sitting there talking to her But do the girls who have luncheon with Clark enjoy such intimacy, such pri- vacy, such a romantic picture? Decidedly not ! With his entrance, came business with a rush The place was crowded with patrons old and new. The proprietor stood at the door warning his new customers that Mr. Gable was not to be disturbed at his table. Small children came in on the pretext ot buying ice cream cones, and stood looking so wistfully down at Clark's table with their pieces of paper and pencils in hand, that Clark melted and beckoned them to come down and he would sign an auto- graph Others soon took advantage— and another autographing spree was on iwo cooks from the kitchen joined the fracas, and waitresses hurriedly gathered up menu cards to be autographed, and which are now displayed with the day's menu so guests will know Gable ate there, if only once I sat there pondering if this could ast foreVer— the autographing, I mean, when Clark suddenly said, "Now, no more After all I have a guest, and we would like lunch." And so we were permitted to order.
By this time the afternoon was well ad- vanced, and we discussed the fact that we were actually very hungry. Clark ordered a chicken sandwich and a glass of butter- milk and no desert. He remarked that he had taken off twenty-five pounds last tall, and was being careful not to replace them He looked over at me and asked me what 1 thought of having a date with him, and 1 managed to murmur: "It was very nice but would be lots better if people would leave us alone for a bit." Clark reached across the table and patted my hand and said that it was always this way and that he really appreciated his fans but some- times the people who were with him didn t —especially, and he referred to a girl whom he'd taken to the Troc one night who wore a shimmering white gown with a long tram, and they had been surrounded by fans, who in their eagerness for autographs had stood on the lady's train ripping it from her gown, and they'd had to go home, and Clark chuckled in remembrance.
Then as the food was placed before us, and I decided that it was very thrilling to be able to sit there and become acquainted with the screen's most popular star, a de- luge of newspaper men poured down on us Three of them, without being invited sat right down at our table and started asking questions all at once. They asked Mr. Gable if it were true that he was going to be divorced this year from his wife, and it he
planned on marrying Carole Lombard and was he going to play Rhett Butler in Gone With The Wind." Clark from past experi- ence handled these questions cleverly, and the reporters weren't sure whether they were being answered or turned down. I or any girl who might have been his luncheon companion couldn't help but feel very tlnrd- personish. The newspapermen stayed on and on— and so we started to eat— and thought they would leave, which they didn t. Just when I had a nice juicy fork full of tomato up to my mouth, a flashlight bulb flashed, and then another and another one, and I could appreciate how and why stars dislike candid cameras clicking with their meals.
When we decided to leave and arose from the table, Gable was once more hand- shaked all around by the management, and the waitresses. The cashier didn't want to take his money, said it was on the house, but Clark paid the check nevertheless.
Soon we were out on the sidewalk once more, where we found that the crowd had doubled in size, and traffic was almost at a standstill. Everyone who owned a camera had fished one out, or sent home for one, and invited all of their family and relatives to rush down too, to glimpse Gable. We wound our way through the crowd up to Clark's car, and kodaks were clicking from every angle.
Clark had to ask the people to make way ao-ain to get me into the car, and finally cfimbed in himself. By this time the sun was low in the west, and with excuses that he had to hurry to keep a dinner engage- ment, (and we'd just finished lunch such as it was), he was able to avoid further autographs without offending the crowd.
I suggested that we return to my home, where perhaps we could find a moment to visit. And there was where I was due for the surprise of my life. The word had somehow spread ahead of us, and when we turned the corner into my street, there were cars by the dozens lined up for a block Evidently the word had spread some- where of my identity, and people had just put two and two together, and came right down, figuring that Clark would bring me home sooner or later.
Clark stopped his car and looked back- as though searching for an escape and looked back to see a steady stream of cars had been following us. And so there we were! There was space left by the front o-ate and we drove up and went right into the house, where I found the telephone was ringing continually. By this time, my sense of humor had revived a bit and I turned to Clark helplessly and said: "So this is how it is to have a date with Mr. Gable ! And we both laughed. With constant interrup- tions he stayed for a few moments, until people, becoming bolder, came right up to the door and started knocking, asking to see Gable. And friends who hadn t called for years came calling.
So Clark finally had to leave, and again he was met by a couple of dozen camera fans who snapped his picture at my front
^There's an aftermath after you've had a date with Gable. Your friends set you apart and you are given a certain distinction. You are forever asked how romantic and excit- ino- the date was. You see the candid pic- tures of it popping out from amateur candid photo magazines, and people pass your house, and remark that Gable was once there As for yourself you know what it is like to have had a date with the most fam- ous actor on the screen. And with all of the mobbing, crowding, pushing and constant interruptions at the hands of the great American movie public, if your phone should ring a second time for a Gable date you'd say breathlessly: "Yes, of course!
SCREENLAND
Inside the Stars' Homes
Continued from page 13
into the dressing, stir the dressing rapidly and then take the ice out before using it. You'll be surprised how this chills and thickens the dressing !
"This salad is romaine, watercress, rad- ishes, onions, tomatoes and peppers, What makes it different is that after I've sliced the radishes and onions, I let them stand for an hour in vinegar and water with pepper and salt. That gives them a sort of pickled taste that I like. Then I put oil and cream into the vinegar and thoroughly chill it before I put it onto the salad.
"Sometimes I use hearts of artichoke, slices of avocado, or hard-boiled egg, sliced, with the greens. My family especially likes a salad of Romaine, peppers and yolks of hardboiled eggs beaten into the dressing."
Some girls in Hollywood — as in other places — cling to salads because they_ are non-fattening, but Marie must have weight- building foods.
"I've gained twelve pounds !" she exulted. "The secret of it is to lie down for ten minutes after each meal. For breakfast, I have orange juice, Cream of Wheat mush, and a glass of half-milk, half-cream, and then I hurry and lie down quick in order to gain all the weight those calories contribute."
She drinks milk, or milk and cream, between meals, also, and manages fair por- tions of food at lunch and dinner, besides.
"Cheese Souffle delicious. Annie has a special recipe that I'm crazy about !" (Annie is a newly arrived German maid, with a treasured German cookbook, which she translates as she goes.)
Fred MacMurrciy, one of the Yacht Club Boys, and Director Al Santell, right, busy on the set.
CHEESE SOUFFLE 2 tbls. flour 4 eggs (separated)
2 tbls. butter 1 pint milk
V2 cup grated cheese (Blue Moon)
Rub butter and flour together over the fire ; when they bubble, add gradually hot milk, seasoned with pepper and salt ; add slowly the cheese. Remove from fire, add beaten yolks of eggs, cool the mixture, add beaten whites, stirring all together thoroughly. Put in pudding dish well buttered and bake in pan of
hot water for 15 to 20 minutes. Serve at once.
"Annie makes a marvelous dish," con- tinued Marie, her big brown eyes shining. "It's "called Schnitzel Natural. It's veal, salted, peppered and floured, and then fried on top of the stove. Then you make a nice, thick gravy and pour sour cream into it and let it simmer a few minutes before serving.
"One of my favorite desserts is Annie's Spanish Cream. I'm crazy about her Bavar- ian Cream, too, especially if you powder it with chocolate shot before serving. Both are excellent for underweights."
SPANISH CREAM Soak y2 box Knox Gelatine in 1 quart of milk for an hour. Then put on fire and stir until it begins to thicken. Add yolks of 3 well beaten eggs and 1 cup sugar. When it boils, strain into moulds and flavor with Burnett's vanilla. Beat whites with 3 tablespoons sugar, also flavored with Burnett's vanilla, and use as sauce when cream is ready to serve.
BAVARIAN CREAM
2 cups milk y2 cup sugar
Pinch of salt 1 tbls. Knox gelatine
y2 cup cold water 2 egg yolks well beaten
1 teaspoon Burnett's vanilla y2 pint whipping cream
Dissolve gelatin by sprinkling on top of y2 cup cold water. Scald milk, sugar and salt. Add beaten egg yolks, stir until it thickens. Remove from fire and add dissolved gelatin. Stir until gelatin has melted, then strain. Add vanilla. As mixture cools and thickens, add whipped cream.
An 8 ounce can of Hawaiian crushed pineapple may be added for variation.
ALIKE AS TWO PEAS
UIT ITS A CINCH TO TELL THIM U>ARTI
YES, MARY AND MAR61E LOOK EXACTLY ALIKE-BUT IT'S EASY TO TELL THEM APART THESE DAYS!
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BOB MEANT BY THAT, MARGIE?
FORGIVE ME, MARY, BUT I THINK I KNOW. LAST NIGHT I HEARD HIM SAY YOU OUGHT
TO SEE A DENTIST ABOUT YOUR BREATH
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LATER — THANKS TO COLGATE'S
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THANKS, BOB, BUT I'M NOT MARGIE-- I'M MARY!
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SCREENLAND
31
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Don Ameche's Confes- sion of Faith
Continued from page 25
ball team to victory also. Don has always combined the aesthetic with the virile— during his early professional struggles, and between his acting and broadcasting, he odd-jobbed variously as a ditch-digger, a 'rough carpenter, a mattress-maker, cement worker, etc., — and he finds no conflict be- tween them. Don would hate worse than anything in the world to be either a heathen or a sissy.
Nor does he see anything at all in- congruous in the fact that his father was at once a church-goer and a saloon-keeper.
"Dad was the best saloon-keeper in Kenosha," he declares, refusing now that he is top-flight to soft-pedal the subject, "nobody ever had too much to drink in his saloons."
Don's present counterpart of that little chapel which stood him in such good stead at St. Berchman's is St. Elizabeth's at Van Nuys, where he and his family worship unostentatiously every Sunday morning and is often during the week as his busy sched- ule will permit.
Somewhere in the life of every outstand- ing character there are others whose in- fluence is very largely responsible for moulding them into what they become. Besides his mother and father, in Don's case these others were Sister Cornelia, then at St. Berchman's and now Mother Supe- rior of St. Mercy's in Cedar Rapids, Iowa —where Don's sisters are students— and Father Maurice Sheehy and Father Kucara, then both of Columbia Academy at Dubuque, where Don was sent after his gradua- tion from the seminary. Father Sheehy now is on the faculty of the Catholic Uni- versity of America at Washington, D. C, and Father Kucara is Bishop of Lincoln, Nebraska. .
All three were Don's very great friends and benefactors. Sister Cornelia because she guided his activities and nurtured his spirituality during his most impressionable and plastic years; Father Sheehy because he was Don's confessor and coach, and Father Kucara because he possessed a par- ticularly warm and resonant voice which Don admired tremendously and imitated profusely. ,
It was, in fact, Father Kucara s voice which probably had most to do with Don's present voice — the one characteristic of his personality, he believes, which did most to bring him success. Certainly it was that voice which made him the foremost dra- matic favorite on the air, which got him his first real introduction to the public, and which built up the immense radio popu- larity which has so greatly contributed to his screen popularity. Don likes to tell how t happened to come about. ^ "I had been batting around for years, he said, "alternately trying to study law, trying to get a footing on the stage, trying for a radio audition. It seemed that in all three I wasn't getting anywhere; I didn't like law, and as far as the stage and radio were concerned I appeared to be butting my head against solid stone walls. One evening I sat down and had a serious con- ference with myself, and I decided to give them all up and go into business. The next day came the impossible. God acted and 1 was called to a broadcast studio for an audition."
That audition— that voice— led directly to "The Empire Builders" program and through it to the career which, second only to Amos and Andy's, is the longest on the air.
At Columbia, however, when Don tased to mimic the good Father Kucara, thus un- consciously acquiring much of the depth of the priest's personality and much of the deep tonal appeal of his voice, his achieve- ment did little but get him into trouble. Once Father Kucara, amazed to hear the echo of his own tones as he walked, turned a corner abruptly and caught Don red- handed while he was performing prodigies of impersonation for an admiring audience of other students.
"You're doing the devil's work!" he in- dignantly rebuked Don.
But for that once the kindly Father was wrong. Don has since used that voice, and is still using it, to do not the devil's work but God's. As the old hymn has it, God moves in mysterious ways His wonders to perform, and Father Kucara himself recog- nized the value of that voice when he was in Hollywood last year.
"He told me then that perhaps because of what I did thoughtlessly as a kid," said Don, "my voice now reflects a spiritual quality which attracts people. He said that that must be the reason God gave it to me, and assured me I could do no greater work for God in my own medium than to bring needed relaxation to others."
However, of all his life's associates Don is most