Digitized by the Internet Archive in 2017 with funding from Media History Digital Library https://archive.org/details/motionpicturecla78unse NOTICE TO READER- Wl^ea you-finisb read- ing tbis ^gazlne, place a 1-^t stamp on this hOid<«^ maH the hiaftar xine, and it wUl ba placed in the hands of our -doUfera or sailors^ destined tp proceed over- seas. L NO WRAPPING— . V, NO ADORRSS Look for the trade-marks as the sure way of identifying Paramount and Artcra/t Pictures — and the theatres that show them **** FAMOUS PLAYERS -LASKY CORPORATION ADOLPH ZUKOR Pres. JESSE l.LASKY V/ce Pres. CECIL B.DE MILLE Director general -TSTEW YORiO • ' Industries that are mnning the nmx HGRICULTURE, steel, oil, transportation— all indispensable weapons. But there is another weapon to be fittingly grouped with them — a weapon of the heart — motion pictures ! Fittingly grouped with them, too, on their own basis of volume of business done and amount of capital invested, as well as on the basis of performing the indispensable duty of keeping up the national heart. It is common knowledge that the quality of all others that America has brought to the Allies is buoyant morale, lightness of heart — and it is com- mon knowledge from coast to coast that it is Paramount and Artcra/t Pictures that have been adopted by the whole nation as the romantic fuel of its cheery temper. Paramount and Artcraft Pictures have actually accomplished the magnificent destiny of raising the screen to the importance of a first-grade weapon oj victory. In thousands upon thousands of American com- munities the great Paramount and Artcraft Pictures, aflame with the purpose of victory, have shaped the public morale — the stuff of which victory is made — to a steely resoluteness! No wonder the President has expressed his appre- ciation of the war-value of motion pictures! The men and women of vision behind Paramount and Artcraft give their word to the nation that the weapon they wield shall always be kept polished and bright — — bright with the shine “of foremost stars, superb, ly directed, in clean motion pictures." ^ar(imouni<»^CIiixuxi^ Jiotion ^Lctur&s ^ “FOREMOST STARS. SUPERBLY DIRECTED, IN CLEAN MOTION PICTURES" MQO 4 Room FuH of FumSiure Send only $1.00 and we will ship you this handsome 6-piece library set. Only $1.00 down, then $2.50 a month, or only $24.90 in all. A positively staggering DOWN value and one of the biggest bargains we have ever offered. Look at the massive set, clip the coupon below and have it shipped on approval. Then see for yourself what a beautiful set it is. If you do not like it, return it in 30 days and we will return your money. All you have to do is send the coupon with $1.00. This magnificent library set is not shown in our regular catalog. The value is so wonderful and the demand so great that there aren’t enough to go around, so send today — sure. £ither have set sent for you to see, or tell us to mail catalog. This superb six-piece library set is made of selected solid oak throughout, finished in rich, dull waxed, brown fumed oak. Large arm rocker and arm chair are 86 indies high, seats 19x19 inches. Sewing rocker and reception chair are 36 inches high, seats 17x17 inches. All four pieces are luxuriously padded, seats upholstered in brown imitation Spanish leather. Library table has 24x34 inch top, with roomy magazine shelf below, and beautifully designed ends. Jardiniere stand measures 17 inches high, with 13 Inch top. Clip the coupon below, and send it to us with $1.00, and we will ship the entire six pieces, subject to your approval. No C. O. D. Sent knocked down. Easy to set up. Shipping weight .about 175 pounds. Money back if not pleased. Order by No. B5186A. Send $1.00 with order; $2.50 monthly. Price, only $24.90. No discount for cash. ActNow-WhileThisSpecialOfferLasts Don’t wait a day longer. Sit down today and send in the coupon for this 6-piece fumed Solid Oak Library Set. For a limited time only are we able to offer you this stupendous bargain. Prices, as you know, on everything are going up, up, up. It is impossible to tell just what day it will be necessary for us to increase the price of tliis wonderful fumed Solid Oak Library Set. So act, but act quick. Fill out the coupon and send it to us with the first small payment and we will ship you this wonderful 6-piece fumed Solid Oak Library Set. Pieces not sold separately 6 Pieces Easy Payments Open an account with us. We trust honest people, no matter where you live. Send for this wonderful bargain shown above or choose from our big catalog. One price to all cash or credit. No discount for cash. Not one penny extra for credit. Do not ask for a special cash price. We cannot offer any discount from these sensational prices. Free Bargain Catalog Send for it. Shows thou- sands of bargains in furniture. 30 Days’ Trial Our guarantee protects you. Ifnot perfectly satisfied, return the article at our ex- pense within 30 days and get your money back — also any freight you paid. Could any offer be fairer? jewelry, carpets, rugs, cur- tains, silverware, stoves, porch and lawn furniture, women’s, men’s and children’s wearing ap- parel, Send the coupon today. Send This Coupon Along with $1.00 to us now. Have this fine library set shipped on 30 days’ trial. We will also send our big Bargain Catalog listing thousands of amaz- ing bargains. Only a small first payment and balance in month- ly payments for anything you want. Send coupon today. Free Trial Coupon ^ STRAUS &SCHRAMp (Inc.) Dept 1551 W .•^thSt.p Chicago STRAUS & SCHRAM (Inc.) wPlsth Street CHICAGO / / 4^ Enclosed find $1.00. Ship special ad- jy vertieed 6-Piece Fumed Oak Library Suite. I am to have so days’ free trial. Jx 4^ I keep the suite I will pay you $2.60 month- ly. , If not satisfied, I am to returo the suite ^ within 30 days and you are Co refund ovy 4^ money and any freiwrht cnariites I paid. Jlr n 6-Plece Library Set, No. BS186A. S24.90 /I Name... Post Office ..State... If you ONLY want catalog put X In box below □ Furniture and Stoves □ Jewelry O Mo’s* Womeo's and Children's Clothmg Q Paints O RoofiOf I ! (Three) m iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 11 1 The February 1 1 Classic B ■ Some of the Features: M M FLORENCE TURNER B m Of course, you remember s the beloved Florence of old B Vitagraph ? Six years ago she m m crossed the seas, but now she m m has returned to the films. Here m m is a human, vital story of Miss M Turner, who has been for B m months touring the British M camps and hospitals entertain- = 1 ing the English Tommies. H H PRISCILLA DEAN = H Something of a “nut inter- view” is this humorous chat = = with Priscilla of the wonderful m fuzzy coiffure. There are m plenty of laughs in this little M B talk with Miss Dean, who. = m most of all, loves “to travel = M fast,” be it in auto or ’plane. H 1 DICK BARTHELMESS Dick, just out of Trinity Col- M lege, Hartford, Conn., went di- s = rectly into the films with Her- = B bert Brenon in Alla Nazimova’s m “War Brides.” He has been B B coming along rapidly ever m = since, until now he’s one of the B m favorite juvenile leads of the B B silverscreen. B B FAIRE BINNEY B ■ Is little Miss Binney a star B in the making? Anyway, you’ll == be interested in this story of a B m girl, who, in a few months, has = worked her way up to playing opposite Jack Barrymore in the B J films. M These are but a few of the ■ B fascinating February features B m of The Classic, which, aside B m from its many intimate chats B M and articles, and its hundreds of new and striking pictures, B B will carry the cream of the B M month’s photoplays in fiction- B B ized form. The February B Classic will have three big film = m dramas in story form, including = Billie Burke’s “Good Gracious, B m Annabelle” and Norma Tal- m S madge’s “Heart of Wetona.” B = And there’s a beautiful cover m of Clara Kimball Young. ■ m The Motion Picture Classic M 175 Duffield Street, Brooklyn, N.Y. ■ iiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii il Vol. Vll JANUARY, 1919, No. 5 THE GIRL ON THE COVER (Cover painted by Leo Sielke) Marguerite Clark seems to us an ideal choice for The Classic’s holiday cover. For, thru her frequent and charming appearances in screen fairy tales, Miss Clark has come to represent our ideal heroine of elfland. She has touched a fanciful, imaginative note quite unlike any other player of the silverscreen. Surely the films are the sweeter for Miss Clark. Here’s hop- ing that, during the coming year, she gives us at least another “Prunella,” another “The Seven Swans” or another “Snow White.” PAGE Gallery of Popular Players. Studies of Olga Petrova, Geraldine Farrar, Mary Pickford, Anna Q. Nilsson and Evelyn Nesbit 11-15 A Pearl in the Rough. The very real confessions of the very real Miss White Frederick James Smith 16 Desperate Desmond. William is Irish and happy and care- free Sue Roberts 18 Florence, the Oriental. Miss Reed loves good books, good music, good plays and being busy Aileen St. I ohn-Brenon 20 Sessue of the Samurai. Hayakawa has the soul of the proud old Japanese caste ...Harry C. Carr 22 Where There’s an Alice Brady, There’s a Way. The busi- est star of the screen and stage C. Blythe Sherwood 24 Billie Rhodes — Circus Girl. The newest feature star of the silverscreen Elkabeth Peltret 26 So Toils the Busy Little Bebe. In this case it’s Miss Daniels 28 Holt — Who Goes There? Otherwise Jack, the fascinating screen villain Mary Keane Taylor 29 Cutting the Gordon Knot. New pictures of Kitty Gordon 30 Have a Hart! Might as well- — Bill has — and plenty of it Faith Service 31 The Hope Chest. Fictionized from Dorothy Gish’s charm- ing comedy Janet Reid 33 Ann Little and the Great Desire. A philosophical chat Adam Hull Shirk 36 Herbert Brenon in Merrie England 38 The Man Who Is Never Himself. George Fawcett lives his characters Fritai Reniont 39 Fame Found Her in the Subway. How success came to Helene Chadwick Ethel Rosemon 41 ’Ception Shoals. Alla Nazimova’s powerful drama told in story form Frederick Russell 43 The Extra Girl Plays Court Reporter Ethel Rosemon 47 The Celluloid Critic. The new photoplays in review. . .Frederick James Smith 48 The Holidays in the Theater. Interesting pictures of the • new footlight attractions 50 The Poor Little Rich Star. Tragedy has come to little Viola Dana Faith Service 52 Before and After Taking. A photographer’s day with the Gishes E. M. Robbins 54 The Parisian Wife. A fascinating story adapted from Elsie Ferguson’s photoplay Dorothy Donnell 56 Gossip of the Pacific Coast FritH Remont 60 Double Exposures. The Classic’s department of humorous comment on plays and players Conducted by F. J. S. 62 The Movie Encyclopedia The Answer Man 76 Published monthly at 775 Dtiffield Street, Brooklyn, N. Y. Subscription, $2.00 a year, in advance, including postage in the U. S., Cuba, Mexico, and Philippines; in Canada, $2.30 a year; in foreign countries, $3.00. Single copies, 20 cents, postage prepaid. One-rent stamps accepted. Subscribers must notify us at once of any change of address, giving both old and new address. Entered at the Brooklyn, N. Y'.'i Post Office as Second-class Matter. Cooyright, 1918, by the M. P. Publishing Co., in the United States and Grea' Britain, a New York corporation, with its principal offices at Bayshore, N. Y. Eugene V. Brewste-, President; J. Stuart Blackton, Vice-President; E. M. Heinemann, Secretary; Eleanor V. V. Brewster, Treasurer. STAFF FOR THE CLASSIC: Eugene V. Brew-ster, Managing Editor; Frederick James Smith, Literary Editor Dorothy Donnell, Robert J. Shores, Edwin M. La Roche, Fritzi Remont Associate Editors Guy L. Harrington Sales Manager Duncan A. Dobie, Jr .Advertising Manager Archer A. King Western Manager Metz B. Hayes New England Manager MOTION PICTURE CLASSIC - - - 175 Duffield St., Brooklyn, N. Y. This magazine comes out on the 15th of every month. Its elder sister, the Motion Picture Magazine, comes out on the first of every month. Both are on sale at all newsstands in the English-speaking world. (Four) What Is Nerve Force? Behind the Screen 'harlie Chaplin and Mildred Harris were rried in Los Angeles, Cal., on October '23d. dary Pickford has signed an agreement h the First National Exhibitors’ Circuit, ereby she will receive remuneration ex- ding the $1,000,000 credited to Charlie aplin. She will be her own manager and xlucer, choosing her plays and players. The itract was signed during Miss Pickford’s it to New York early in November. Francis X. Bushman and Beverly Bayne le started a series of productions in which f. Bushman and Albert E. Smith, of Vita- iph, are co-partners. ylarjorie Rambeau is returning to the screen, der the direction of Joseph L. Hegeman and arles M. Rosenthal. The productions will directed by Harry Revier. Harold Edel, managing director of the New rk Strand Theater, died on November 2d, /ictim of influenza. The Robertson-Cole Company has made a ;cial arrangement with the National Film rporation of America by which it handles : National’s series of Billie Rhodes and :nry B. Walthall pictures, as well as looking er all other National interests. The Na- Inal has just signed Walthall for a year and ;!1 produce four or five big pictures with n as star. Walthall has just returned to ; coast. Charlie Chaplin is already at work on his xt comedy, the successor to “Shoulder ms.” It is reported that it will be a rural •ce, far removed from battles and the liser. _ Carter de Haven is assisting Chaplin the direction. ■Mae Marsh is now at work for Goldwyn on ; coast, utilizing part of the Triangle stu- )s. Mrs. Marsh, Mae’s mother, recently flered a stroke of paralysis. Mae’s sister, |.ldred, and her sister-in-law, Maude, made i cross-country trip with the star. Mamma arsh having preceded them. Priscilla Dean has announced her engage- ;nt to Eddie Rickenbacker, the noted Ameri- a ace and former auto driver. Louise Glaum, formerly of Paralta, is back the Ince fold again. J. G. Hawks, the scenario writer, is head of ; Goldwyn coast script staff. Jackie Saunders is planning to organize a rporation of her own. Alma Rubens has secured her release from r Triangle contract. William Desmond, after playing opposite orence Reed in a single United production, s gone back West to make a series of pic- res for Jesse D. Hampton, to be released ru the Robertson-Cole Company. “Sunshine ary” Anderson is to play opposite Dimpled esmond. Louise Vale, wife of Travers Vale, the 'orld Film director, fell a victim to influenza lile visiting her mother in Madison, Wis., October 28th. Mrs. Vale was well known i the screen. David Powell has signed a year’s contract ith Goldwyn to play leads. He is now at Drk in the Goldwyn coast studios. William Duncan, Vitagraph serial director, is been visiting his parents at Steinway, 1. This was his first Eastern trip in five ars. {Continued on page 8) (Five) Nerve Force is an energy created by the nervous system. What it is, we do not • know, just as we do not know what electricity is. We know this of Nerve Force: It is the dominant power of our existence. It gov- erns our whole life. It Is Life; for, if we knew what nerve force is, we would know the secret of life. Nerve force is the basic force of the body and mind. The power of every muscle, every organ; in fact, every cell is governed and re- ceives its initial impulse through the nerves. Our vitality, strength and endurance are di- rectly governed by the degree of our nerve force. If an elephant had the same degree of nerve force as a flea, or an ant, he could jump over mountains and push down skyscrapers. If an ordinary man had the same degree of nerve force as a cat, he could break all athletic rec- ords without half trying. This is an example of Muscular Nerve Force. Mental Nerve Force is indicated by force of character, personal magnetism, moral cour- age and mental power. Organic Nerve Force means health and long life. It is a well balanced combination of Physi- cal, Mental and Organic Nerve Force that has made Theodore Roosevelt, General Pershing and Charles Schwab and other great men what they are. 95% of mankind are led by the other 5%. It is Nerve Force that does the leading. In our nerves, therefore, lies our greatest strength; and there, also, our greatest weak- ness— for when our nerve force becomes de-» pleted, through worr}^ disease, overwork, abuse, every muscle loses its strength and endurance; every organ becomes partly para- lyzed, and the mind becomes befogged. How often do we hear of people running from doctor to doctor, seeking relief from a mysterious “something-the-matter” with them, though repeated examinations fail to indicate that any particular organ is weak or diseased. It is “nerves” or “you are run down,” the doctor tells the victim. Then a “tonic” is prescribed, which temporarily gives the nerves a swift kick, and speeds them up, just as a fagged-out horse may be made to speed up by towing him behind an automobile. Unfortunately, most people will not believe that their nerves are depleted and weak. So long as their hands and knees do not tremble, they cling to the belief that their nerves are strong and sound, which is a dangerous as- sumption. • The .symptoms of nerve exhaustion vary according to individual characteristics, but the development is usually as follows; First Stage: Lack of energy and endurance; that “tired feeling ” especially in the back and knees. Second Stage: Nervousness; sleeplessness; irritability; decline in sex force; loss of hair; nervous indigestion; sour stomach; gas in bowels; constipation; irregular heart; poor memory; lack of mental endurance; dizziness; headaches; backache; neuritis; rheumatism, and other pains. Third Stage: Serious mental disturbances; fear; undue worry; melancholia; dangerous organic disturbances; suicidal tendencies, and in extreme cases, insanity. It is evident that nerve depletion leads to a long train of evils that torture the mind and body. It is no wonder neurasthenics (nerve bankrupts) become melancholic and do not care to live. The noted British authority on the nerves, Alfred T. Schofield, says: “It is my belief that the greatest single factor in the mainte- nance of health is that the nerves should be in order.” If only a few of the symptoms mentioned apply to you, especially those indicating men- tal instability, you may be sure your nerves are at fault — that you have exhausted your Nerve Force. Nerve force is the most precious gift of Nature. It means everything — your happi- ness, your health, your success in life. You should know all there is to learn about your nerves; how to relax, calm and soothe your nerves, so that after a severe nerve strain you can rebuild your lost Nerve Force, and keep yourself physically and mentally fit. Paul von Boeckmann, the noted Nerve Cul- turist, who for 25 years has been the leading authority in America on Breathing, Nerve Culture and iPsycho-physics, has written a remarkable book (64 pages) on the Nerves, which teaches how to soothe, calm and care for the Nerves. The cost of the book is only 25 cents (coin or stamps). The author’s ad- dress is Studio 73 — World’s Tower Bldg., 110 West 40th St., New York. You should order the book today. . It will be a revelation to you and will teach you important facts that will give you greater Physical, Mental and Organic Nerve Force. If you do not agree that this book teaches you the most important lesson on Health and Mental Efficiency you have ever read, your money will be refunded by re- turn mail, plus your outlay of postage. The author of Nerve Force has advertised his various books on Health and Nerve Cul- ture in the standard magazines of America during the last twenty years, which is ample evidence of bis responsibility and integrity. The following are extracts from letters writ- ten by grateful people who have read the book : “I have gained 12 pounds since reading your book, and I feel so energetic. I had about given up hope of ever finding the cause of my low weight.” “Your book did more for me for indigestion than two courses in dieting.” “My heart is now regular again and my nerves are fine. I thought I had heart trouble, but it was simply a case of abused nerves. I have re-read your book at least ten times.” “The advice given in your book on relaxa- tion and calming my nerves has cleared my brain. Before I was half dizzy all the time.” A physician says: “Your book shows you have a scientific and profound knowledge of the nerves and nervous people. I am recom- mending your book to my patients.” A prominent lawyer in Ansonia, Conn., says: “Your book saved me from a nervous collapse such as I had three years ago. 1 now sleep soundly and am gaining weight. I can again do a real day’s work.” stronger, Clearer ness Weak- ,huski- ness and harsh- •Your voice given a wonder- ful strenph, a wider range, an amazing clearness. This done by the Feuchtinger Method, endorsed by lead- ing European musicians, actors and speakers. Use it in your own home. Simple, silent exercises taken a few minutes daily impart vigor to the vocal organs and give a surprising quality to the tones. Send for the facts and proofs. Do YOU Stammer? The famous Perfect Voice Institute Method is invaluable to those who stammer or lisp. A special course of training for those with an impediment in their speech has been prepared by a famous European director. It will give you command of mus- cles and cords which reproduce vocal sounds. You should not hesi- tate for one minute to secure this valuable training. It will give you the self-confidence so necessary to your business and social success. Write at once for special offer. WRITE Send the coupon and get our free book and literature. We will tell you just what this method is, how it is used and what it will do for you. No matter how hopeless your case may seem, the Feuchtinger Method will improve your voice 30055. No obligation on you if you ask for this in- formation. Just mail coupon. Perfect Voice Institute Studio 1551 -1772 Wilson Ave., CHICAGO I Send me the book and facts about the Feucht- { inger Method. I have put X opposite subject I that interests me most. I □ Singing □ Speaking □Stammering □ Lisping j name I Addrese.,,.,., I MUSIC TAUGHT FREE , I I 1 ^ YOUR luoJl home Piano, Orfran, 'Violin, Mandolin, Oultar, Banfo, etc. Beginners or advanced players. One lesson weekly. Illustrations make every- thing plain. Only expense about 2c per day to cover cost of postage and music used. Write for FREE booklet which explains everything in full. - _ AMERICAN SCHOOL OF MUSIC, 70 Lakeside Building, CHICAGO ^LPJW IN THE WAR! Buy U. S. War Savings Stamps Cuticura Stops Itching and Saves the Hair All druggists: Soap 25, Ointment 25 &50, Ta1ctiiii25. Sample each free of **Ciiticnra, Dept. B, Boston.'* Across the Footlights The New York stage now has a num- ber of admirable and interesting things upon its boards. In at least one instance, the metropolitan theater offers an example of acting at its greatest — acting which ranks with any that may or may not have existed in the palmy days. This is John Barrymore’s really tremendous characterization of Fedya in Tolstoi’s “Redemption.” The Tolstoi drama, sometimes called “The Living Corpse,” is a vital thing. “It is sorrowful and piteous and ter- rible,” some one has said. Tolstoi wrote it as an arraignment of the law’s futility in handling the problems of life. It is marriage viewed with a cruelly ironic eye. One critic said that Fedya is “the figure of all poets, all artists, all sensi- tive human beings who dream passion- ately of what is better than the reality they know.” Barrymore’s performance is marked by genuine histrionic genius. The supporting cast is splendidly chosen and the ten scenes are staged with fine artistry by Robert Edmond Jones. We should like to take every screen actor to see Barrymore’s magnificent Fedya and every director to see Jones’ wonder- ful handling of lights and colors. Clare Kummer, who wrote that delic- ious gem, “Good Gracious, Annabelle,” has given another example of her charm- ing and graceful gossamer humor in “Be Calm, Camilla.” It is the little story of a young girl who comes to New York to study music, fails and is on the verge of starvation when a millionaire’s car runs her down. Out of that slender theme, Miss Kummer has woven a de- lightful comedy. Lola Fisher, who was Annabelle, is the new Camilla and she plays with freshness, wistfulness and humor. The unusual thing about Miss Kum- mer’s comedies is the dialog. “Almost invariably each laugh earned by the play begins scatteringly and then rises to full volume,” says Heywood Broun in dis- cussing the comedy. “This would seem to indicate that a definite intellectual process is stimulated by the new play.” In a word. Miss Kummer’s dialog has mental sparkle. Oscar Wilde’s “An Ideal Husband” is played with distinction and taste at the Comedy Theater. Down at the Greenwich Village The- ater, “The Better ’Ole,” a comedy based on Captain Bruce Bainsfather’s famous English war cartoons, is holding forth successfully. “The Better ’Ole” was re-J jected by a lot of New York’s leading commercial managers, but finally found a home in the metropolis’ near-Bohemia. Charles D. Coburn invests Bainsfather’s ’Ole Bill, the British soldier with the mud-guard mustache, the impregnable ignorance and racy Englishisms, with just the right spirit. “Freedom,” a lavish spectacle in ’steen dozen scenes showing the development of political and racial freedom thru the ages, was briefly at the big Century Theater. It was, at least, imposing. Meanwhile the season’s first three big hits, “Three Faces East,” “Friendly Enemies,” and “L.ightnin’,” go merrily! on. The producers of “Lightnin’,” Win-a chell Smith and John Golden, have ap-| parently just put over another hit inj “Three Wise Fools,” by Austin Strong! This is built around three elderly and embittered men who come to have hu-- manness awakened in their hearts by their ward, the grown daughter of ar old friend. I “Tea for Three” holds its place as onq of the best comedies of a long time,! Alice Brady gives a moving perform-J ance in that touching play of youths “Forever After” ; “The Unknown Pur-J pie” is a weird and startling melodrama S “Under Orders,” with its two-playei^j cast, maintains its place among the fav-j orites ; “Sleeping Partners” is a sprightl^ French Boulevard farce hit; Cyril Maude is doing nicely in “The Savina Grace” and — so it goes. Bl “The Girl Behind the Gun” and “Head, Over Heels” are batting among the musj’ ical leaders. | In other words, the season is doing very well. K Stage Plays That Are Worth While | (Readers in distant towns will do well to preserve this list for reference when these speaking plays appear in their vicinity.) 1 Central. — “Forever After.” Alice Brady in a play of youthful love which endures despite many obstacles. Excellently acted thruout. It charms its audience into living once again the violent joys and heart-aches of youth. Cohan & Harris. — “Three Faces East.” An- other Secret Service-German spy drama, this by Anthony Paul Kelly, one of oiir most successful photoplaywrights. The principal charm of this play is in trying to guess who are the German spies and who are the Allies’, just as we were puzzled in “Cheating Cheaters” to know who were the burglars and who were not. George M. Cohan’s T/icatcr.— “Head Over Heels,” with the saucy Mitzi as a delectable little vaudeville acrobat. Entertaining with tuneful Jerome Kern music and the highly amusing Robert Emmett Keane. Harris. — “The Riddle Woman,” with Bertha Kalich. Problem drama from the Danishj Ladies with “pasts,” a he-vampire and much emotionalism. Kalich gives a picturesque if artificial performance, while Chrystal Herne and A. E. Anson makes the most of their roles. Hippodrome. — The newest production, “Everything,” lives up to its title. It is a rnaze of varied attractions, ranging from dainty Belle Storey to scores of remarkable roller skaters, from De Wolf Hopper to a stage full of tumbling Arabs. Lyceum. — “Daddies.” Appealing little drama of three bachelors who adopt Belgian wai babies. Amusing complications occur when the children develop along unexpected lines Jeanne Eagels is quaintly pleasing in the lead- ing role. (Six) MOTION PICTURE CLASSIC OPPORTUNITY MARKET Lyric. — “The Unknown Purple.” Interesting and well sustained thriller. The story of a convict who discovers a way to make himself invisible, transforming into a purple ray, and who starts out to get revenge. The invisible man steals necklaces, opens safes and passes thru doors. Richard Bennett gives a vigorous performance of the human ray. Plymouth. — “Redemption.” John Barrymore at his best in a remarkable piece of acting and a remarkable Tolstoi play. Sad, but big. Republic. — “Where Poppies Bloom.” Melo- dramatic war play of a woman who discovers that her husband is a Hun spy. Action takes place on the Flanders battle line. Marjorie Rambeau is very emotional in the star role. ON THE ROAD. “Keep Her Smiling.” A typical Mr. and Mrs. Sidney Drew comedy. Mr. Drew does the cleverest bit of acting of his career, and alas! alack! the screen has probably lost for- ever one of its brightest stars. Mrs. Drew is more charming and “younger” than ever be- fore. “Fiddlers Three,” lively little operetta with considerable fun and much good music. Louise Groody scores as a captivating little ingenue and dancer, while the lanky Hal Skelly’s humor is amusing. Altogether a likeable en- tertainment. “Going Up.” A charming musical farce written around an aviator, with Frank Craven in an interesting role. The music is unusually bright and catchy. “The Passing Show of 1918.” One of the best of the Winter Garden shows. Pretty girls and stunning costumes. Among the features are the amusing Howard Brothers ; that lively dancing team, Fred and Adele Astaire; and the laughable Dooley Brothers. “The Copperhead.” One of the big dra- matic successes of last winter, by Augustus Thomas. A drama that will live. “The Little Teacher.” A charming play, full of human interest, and played by a company every one of which makes a hit. Mary Ryan is excelknt, as usual, and her support is un- usually good. “A Tailor Made Man.” An altogether capti- vating comedy full of laughs, built around a young tailor who became great thru reading the book of an unsuccessful author and who then hires the latter to work for him. “The Kiss Burglar.” One of the most charm- ing of musical-comedies. Pleasant music, dis- tii^ction of book and considerable humor. Above all the fascinating personality of Fay Bainter. Very pretty chorus. “pii. Lady !_ Lady ! !” Chic musical-comedy. Daintiness, wit, a well-balanced, all-star cast and catchy music are the outstanding charm of this offering intime. “Parlor, Bedroom and Bath.” A roaring farce of the class of “Fair and Warmer,” “Twin Beds” and “Up Stairs and Down,” and about as funny and riacy as any of them. “Flo-Flo.” This glorified burlesque caught Broadway last season. Sprinkle some catchy music between the gags, add a flashing chorus, season well with bold if not risque situations, and flavor with dazzling costumes and you have “Flo-Flo” ready to serve. The stars and support display well-modulated voices and some real honeymoon lingerie. “May time.” A dainty, touching comedy with music. It has a real plot, following the life of a young couple from youth to old age, in- terspersed with tuneful music and some danc- ing. “Tiger Rose.” An iptense and very popular drama similar to “The Heart of Wetona,” in which Lenore Ulric plays the part of an Indian maiden who loves and swears charmingly. LEADING PICTURE THEATERS. Loew’s N. y. and Loew’s American Roof. — Photoplays; first runs. Daily program. Rivoli — De Luxe photoplays, with full sym- phony orchestra. Weekly program. Rialto. — Photoplays supreme. Program changes every week. Strand. — Select first-run photoplays. Pro- gram changes every week. (Seven) HELP WANTED MISCELLANEOUS Men, Women and Girls Wanted for U. S. Government life jobs. $95 to $150 month. Vacation with full pay. No lay-offs. Short hours. Common education suffi- cient. Pull unnecessary. Write immediately for free list of positions open. Franklin Institute, Dept. Y-78, Rochester, N. Y. FEMALE HELP WANTED Woftien To Sew, Goods Sent Prepaid To Your Door; plain sewing; steady work; no canvassing. Send stamped envelope for prices paid. Universal Co., Dept. 22, Philadelphia, Pa. Wanted — Ten bright capable ladies to travel, demon- strate and sell well-known goods to established dealers. $25.00 to $50.00 per week; railroad fare paid; weekly advance for traveling expenses. Address at once, Goodrich Drug Company, Dept. 16, Omaha, Neb. I.adies — Fascinating home business tinting postcards, pictures, photos, etc., spare time for profit. $5 on 100; no canvassing; samples 10c (stamps). Particulars free. Artint, 427-G, Station A, Brooklyn, N. Y. OLD COINS WANTED “Old Money Wanted.'* $2 to $500 each paid for hun- dreds of coins dated before 1895. Keep all old money. Send 10c for new illustrated coin value book, size 4x6. You may have coins worth large premiums, (let posted. Clarke Coin Co., Box 155, Le Roy, N. Y. PHOTOPLAYWRIGHTS FREE TO WRITERS — A wonderful little book of money-making hints, suggestions, ideas; the A B C of successful story and movie play writing. Absolutely Free. Just address Writer’s Service, Dept. 4, Au- burn, N, Y, Stories and Photoplay Ideas Wanted by 48 companies; big pay. Details free to beginners. Producers League, 441, St. Louis, Mo. Comedy-Dramas Wanted. Simple ideas will do. High prices and motion picture recognition are within your reach. There never was, never will be, a better op- portunity for unrecognized talent to “break in” than right now. Write for particulars to G. A. Stradere, 309 Broadway, New York City. (A film representative; not a school.) STORIES WANTED EARN $25 WEEKLY, spare time, writing for news- papers, magazines. Experience unnecessary; details free. Press Syndicate, 4575, St. Louis, Mo. GAMES AND ENTERTAINMENTS New Patriotic Plays, Recitations, Entertainments for War-time Benefits. Vaudeville sketches, monologues, drills, tableaux, make-up goods. Large catalog free. T. S. Denison & Co., Dept. 63, Chicago. $50 weekly and up selling Mexican Diamonds. Ex- actly resemble genuine; same rainbow fire; stand tests; sell at sight; repeat orders. Write quick for sample case offer free. Mexican Diamond Importing Co., MP., Las Cruces, New Mexico. TOILET REQUISITES Tile Woman of Refinement appreciates the sense of personal cleanliness secured by the use of the per- fect antiseptic douche powder, MENTOSAL. $1, metal carton. Original Toilet Preparations Co., 222 P Madi- son Square Station, New York City. HAIR ON FACE, BODY OR UNDER ARMS positively removed with root; no electricity nor poisonous drugs: absolutely harmless and painless: write for particu- lars, or call for free demonstration. Mme. Berthe, Specialist, 12 West 40th St., N. Y. PATENTS Wanted Ideas. Write for free patent guide book, list of patent buyers and inventions wanted. $1,000,000 In prizes offered. Send sketch for free opinion of pat- entability. Victor J. Evans & Co., 621 Ninth, Wash- ington, D. C. Invent Something. Your Ideas May Bring Wealth, Free book' tells what to invent and how to obtain a patent. References: Dun, Bradstreet and Washington Mechanics’ Bank. Talbert & Talbert, 4723 Talbert Building, Washington, D. C. NEWS CORRESPONDENTS Earn $25 Weekly, spare time, writing for newspapers, magazines. Experience unnecessary; details free. Press Syndicate, 561 St. Louis, Mo. SONG WRITERS Write the Words for a Song. We write music and guarantee publisher’s acceptance. Submit poems o-n war, love or any subject. Chester Music Co., 638 So. Dearborn St., Suite 193, Chicago. Write a Song — Patriotic or popular. I compose music and guarantee publication. Send words today. Tho«, Merlin, 231 Reaper Block, Chicago. Write the Words for a Song. We compose music, se- cure copyright and submit copies to leading publishers. Submit poems now — examination free. Broadway Studios, 107-D Fitzgerald Bldg., Broadway at 43rd Street, N. Y. Write the Words for a Song. We compose music, se- cure copyright and submit copies to leading publishers. Submit poems now — examination free. Broadway Stud- ios, 107-C Fitzgerald Bldg., Broadway at 43d Street, New York. MANUSCRIPTS TYPED Scenario Writers Get Your Manuscripts Typed. Fifty cents per thousand words. One carbon copy. Busi- ness envelope addressed to any producer you name sent free with each manuscript. M. P. Harwood, 530 Baker Street, Flint, Mich. 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Columbia School of Drafting, 753 McLachlen Bldg., Washington, D.C; MOTION PICTURE CLASSIC THE MOTION PICTURE CLASSIC and THE MOTION PICTURE MAGAZINE’S Fame and Fortune Contest IS NOW OPEN The Motion Picture Classic and The Motion Picture Magazine have inaugurated many contests during the past, but it can safely be said that no contest in the history of the two popular magazines ever started with the tremendous wave of interest which has preceded the launching of The Fame and Fortune Contest. The very first announcement brought hundreds of letters, inquiries and favorable comments. These have been steadily mounting in numbers. The opening of the contest on December 1st was marked by an avalanche of pictures. The Motion Picture Classic and The Motion Picture Magazine will make an internationally famous screen player of the winner of The Fame and F'ortune Contest. The two magazines will give two years’ guaranteed publicity to the winner. This will include cover portraits in colors, special inter- views, pictures, special articles, etc. — the sort of publicity that could not be purchased at any price. The Motion Picture Classic and The Motion Picture Magazine will secure an initial position for the winner and other opportunities, if necessary. At the end of two years The Motiop Picture Classic and The Motion Picture Magazine guarantee that the winner will be known thruout the civilized world. THE FAME AND FORTUNE CONTEST OPENS The judges are now going thru the portraits received. Every fifteen days the jury will pass upon the contestants’ photographs, selecting the six best portraits submitted during that period. These honor pictures will be published in subsequent numbers of The Motion Picture Classic and The Motion Picture Magazine, and an announcement will shortly be made of the first installment of honor pictures selected. The duration of the contest will be announced later. Upon the closing of the contest the winner will be selected. It is possible that three or four leaders may be chosen and invited to come to New York for test motion pictures, after which the final winner will be decided upon. JURY OF INTERNATIONAL NOTE The Fame and Fortune jury of judges includes: DAVID GRIFFITH Commodore J. STUART BLACKTON THOMAS INCE JAMES MONTGOMERY FLAGG CECIL DE MTLLE HOWARD CHANDLER CHRISTY MAURICE TOURNEUR EUGENE V. BREWSTER TERMS OF THE CONTEST 1. Open to any young woman in the world, except those who have already played prominent screen or stage roles. 2. Contestants must submit a portrait, upon the back of which must be pasted a coupon from either The Motion Picture Classic or The Motion Picture Magazine, or a similar coupon of your own making. 3. Contestants can submit any number of portraits, but upon the back of each must be pasted an entrance coupon. CLASSIC ENTRANCE COUPON Contestant No (Not to be filled in by contestant) Name . Address (street) r (city ) , (state) Previous stage or screen experience in detail, if any. When born Birthplace... Eyes (color) Hair (color). Height Weight Complexion Behind the Screen {Continued from page 5) Anita King, well known on the screen, was injured, on October 17th, near Michigan City, Ind., when her car was struck by a train. She was engaged in aiding the Liberty Loan drive and was on her way to make an address. Completing the late Jacques Futrelle’s “My Lady’s Garter’’ at his Fort Lee studios, Mau- rice Tourneur is departing for the coast to make three or four productions during the winter. William Randolph Hearst has purchased the Universal Animated Weekly, Universal Cur- rent Events and Mutual’s Screen Telegram, merging them with Hearst’s Weekly under the title of Hearst International News. On December 24th the Hearst-Pathe Weekly ceased to be, Pathe now issuing its own news weekly. Edith Storey has left Metro. Denial is made that Cecil De Mille is leaving the Lasky organization. Rumor had it that he was going into the army air service. “Daddy Long Legs,” the Jean Webster story, and “Pollyanna,” both successful on the stage, have been purchased by Mrs. Charlotte Pickford for Mary’s use. The price for both stories is said to be $80,000. Harold Lockwood, the Metro star, died of the influenza at the Hotel Woodward on Oc- tober 19th. He had been ill only ten days, having just started the production of “The Yellow Dove.” It is believed that Mr. Lock- wood contracted the fatal disease at the Madi- son Square Garden, where he had been en- gaged in Liberty Loan work at the Motion Picture Exposition. Anita Stewart has completed her first Louis B. Mayer production, “Virtuous Wives,” adapted from Owen Johnson’s story. Con- way Tearle, Mrs. De Wolf Hopper and Edwin Arden are in the cast. George Loan Tucker directed. “In Old Virginia” will be Miss Stewart’s second. All Goldwyn productions are now being made on the coast. Tom Moore and Mae Marsh are at work in California. The Rex Beach pictures will be filmed on the coast. 'Geraldine Farrar will not go West until after the close of the opera season in April. Pauline Frederick and Madge Kennedy are about to start West. John H. Collins, husband of Viola Dana and her director for a long time, died at the Hotel Marie Antoinette on October 23d of pneumonia, following a week’s attack of influ- enza. The influenza also claimed Julian L’Estrange as a victim. Mr. L’Estrange died on October 22d in New York. He was well known on both stage and screen, appearing up to the time of his fatal illness in the stage production of “The Ideal Husband.” Billie Rhodes has been Manhattaning. Doris Kenyon is following “Wild Honey” with “Twilight.” Both are adaptations of stories by Vingie E. Roe. “Twilight” appeared in the Metropolitan as “The Alchemy of Love.” Miss Kenyon is using the Biograph studios in New York for production work. Eugene Walter, the playwright, has contract- ed to write three original screen stories for Norma Talmadge. William Fox has added James Kirkwood, Charles J. Brabin, Edward Dillon and Arvid E. Gillstrom to his staff of directors, making a total of fourteen. Kirkwood has just finished Evelyn Nesbit’s “I Want to Forget.” (Eight) The nt^hiiy chfi-is- ivg nvkh Pond^s C''*d C^ca^n is important As a protection to the skin^ use Pond's Vanish- ing Cream just before you go out weathet whips out of the shm all its natutal moistute lo make and keep your skin lovely you need two creams — one kind for protection and an entirely different kind for cleansing The reason your complexion suffers in winter is because the cold weather whips out of the skin all its natural moisture. With each exposure to the cold, the skin becomes tighter and rougher until it cracks and breaks. It loses all its delicate color. How to protect your skin Before going out protect your skin by an application of Pond’s Vanishing Cream. Use it on your hands and neck as well as your face. Compare the fresh, soft condition in which it keeps your face with the drawn, dry feeling that gener- Photu by Charlotte Fairchild Billie Burke^ ally follows exposure to cold, windy weather. Based on an ingredient which doctors have used for’ years for its soitening, beau- tifying qualities. Pond’s Vanishing Cream is of the utmost value in overcoming all dryness and restoring the normal pliancy to the skin. It is absolutely free from greasiness. You can use it throughout the day or you can put it on while dressing for the even- ing with the knowledge that not a bit ot it will remain on the skin to make it shiny. Your nightly cleansing needs a different cream Without thorough cleansing of all the dust gathered during the day, the skin cannot be clear and fine-textured. Pond’s Cold Cream was prepared especially to give the skin a perfect cleansing. Try it for your bedtime toilet tonight. You will revel in the sensation of grateful cleanliness it produces. whose beautiful skin is the envy of everyone who sees her^ says : Nooneappreei- aies Pond's Vast’ ishing Cream more than X** Marion Davies, whom many consider America's most beautiful young stage favorite^ says: * I don'tsee how I ever got along without Pond*B Vanishing Cream. Nothisrg else has ever kept my shin in such good condition" Photo by Campbell Studio For massage also, you will find Pond’s Cold Cream delightfully smooth and easy to work into the pores. Only the very freshest, purest ingredi- ents are used in the preparation of Pond’s Vanishing Cream and Pond’s Cold Cream. They will not grow hair or down on the skin. Get a jar or tube of each today at any drug or department store. Or we will send you free samples of each cream Mail the coupon below for free sample tubes of each cream. For enough of each cream to last two weeks^ send loc. Get the samples today and give them a week’s test. You will find that your complexion has become smoother, fresher, lovelier than ever in coloring. Address The Pond’s Extract Company, 136RH udson Street, New York City. POND'S EXTRACT CO. 136RHudson St., New York City Please send me free the items checked: A free sample of Pond’s Vanishing Cream A free sample of Pond’s Cold Cream Instead of the free samples, I desire the items checked below, for which I enclose the required amount: A 5c sample of Pond’s Vanishing Cream A 5c sample of Pond’s Cold Cream N amc Street City State ( Nine ) The perfect bloom of a skin so soft, so fine in tezture that it seems the outward sign of an exquisite personal fine- ness— Read below how by proper treatment you can gain this most ap- pealing of all charme The ^Magtc of a fne^ soft skin ONLY BY THE PROPER CARE CAN YOU GAIN THIS CHARM IT DOES not “just happen” that some girls retain the loveliness of a fine, soft com- plexion. Only by really caring, by finding out and faithfully using the right treatment for the skin, have the famous beauties kept this charm. Examine your skin closely. Its pores should be hardly noticeable. If they already begin to show con- spicuously, it is a sign that you have not been giving your skin the proper care for its needs. Begin tonight this treatment for reducing enlarged pores and making the skin fine in texture. Use it persist- ently. Only by faithfully caring for your skin can you correct a condition which is the result of years of neglect. To make your skin fine in texture Dip your wash cloth in very warm water and hold it to your face. Now take a cake of Wood- bury’s Facial Soap, dip it in water and rub the cake itself over your skin. Leave the slight coating of soap on for a few minutes until the skin feels drawn and dry. Then dampen the skin and rub the soap in gently with an upward and outward motion. Rinsethefacethoroughly, first in tepid water, then in cold. Whenever possible, finish by rubbing the face with a piece of ice. Always dry carefully. You can feel the difference the very first time you use this treatment. Within ten days your skin will show a marked improvement — a promise of that greater smoothness that the steady use of Woodbury’s always brings. For a month or six weeks of any Woodbury Facial treatment and for general cleansing use for that time a 25c cake is sufficient. On sale at drug stores and toilet goods counters through- out the United States and Canada. Send for sample cake cf soap with booklet of special treatments and sample of Woodbury’s Facial Powder For pale sallow skins Do you lack the exqi) color that comes and g ; Write us for direction* the new steam treatment pale, sallow skins. It ’ bring to your skin the fti glowing color for which have longed Send 6c for a trial-size cake (enough for a week or ten days of any Woodbury treatment) together with the booklet of famous treatments, “A Skin You Love to Touch.” Or for izc we will send you the treatment booklet and samples of Woodbury’s Facial Soap and Facial Pow- der. Address The Andrewjergens Co., 901 SpringGroveAve., Cincinnati, Ohio. If you live in Canada, address The Andrev) Jergens Co., Limited, qoi Sherbrooke Street, Perth, Ontario, Conspicuous nose pores You need not let the attractiveness of your fece be ma by conspicuous nose pores. If this is your trouble, stai once the special treatment for it given in ^e boo , wrapped around each cake of Woodbury’s Facial Soap (Ten) ! i T*ortrait by De Mey(‘r‘ OLGA PETROVA The screen has at least temporaril.i lost the picturesque Mnie. Petrova, since the star is now doing a spoken play, “The Eighth Sin,” which she wrote herself. So Mme. Petrova is likely to be absent from the silver- screen for at least a period. She was last seen in the films at the head of Petrova. Eeaturfe Productions. GERALDINE FARRAR Between the Metro- politan Opera House and the Goldwyn studios, Miss Farrar leads a busy life. Gerry, you know, is American thru and thru, Melrose, Mass., being her birthplace, and her father a base- ball star — Sidney Far- rar. Operatic tri- umphs came to Gerry after long training on the Continent. Now she’s interested in the films almost as much as in opera. MARY PICKFORD About the hardest caption on earth to create is one for a portrait of little Mary. What new can be said of the little girl who won her way into the hearts of the world in the old Bio- graph days and who has held a position all her own ever since? Just one thing — ' please, come , back to the screen soon ! 1 ANNA Q. NILSSON Anna bane borr in Ystad, Sweden. VVe dont know how you pronounce it, but why try? Anna came over in 1908, walked down Riverside Drive, caught the eye of a discerning artist and was engaged on the spot as a model. She was the original I en- rhyn Stanlaws girl. Then the films, via Kalem, won her over. Now she’s with Metro EVELYN NESBIT Evelyn Nesbit is now a full-fledged Fox_ star, having given up vaudeville Fox Nesbit is hard-working and sincere — and we’re going to watch her screen development w g offering was “The Woman Who Gave.” I By FREDEF ‘‘What hap- pens next?” we intimated anx- iously. “Search me,” confessed Pearl, lighting a new cigaret. Then the director called Miss White back into the rain for some still pic-j times with the^ i 1 1 a i n o u s M r? HAVL-: youse got a cigaret?” gently in- quired the Pearl of many perils. With which we rattled back upon our shock- absorbers. We had been warned of Miss White’s informality in interviews, but the question took our breath away. Right here, in all fairness to Pearl, w-e should present our findings. During the whole evening of our interview Miss White bor- rowed cigarets from studio workers and actors with splendid impartiality, and each request was couched in the Vassar English we have mentioned. But Miss White, we dis- covered, doesn’t talk thusly because she knows no better. It’s just an example of Pearl’s unconventional sense of humor. After observing Miss White in her numer- ous serials, one might suspect that to spend an evening in the studio with the star w^ould be courting a rest in a nice, secluded white w'ard where they take your temperature every hour. In reality our evening with Miss White was quite uneventful, altho it was spent in the densest sort of jungle a studio staff can con- struct. “What?” demanded Pearl, in response to our inquify. “Dont you know South Ameri- can when you see it ? Get the asparagus and the wild rhubarb. It’s no other than a suburb in Brazil.” W’hatever it was, the rainy season was cJn. Mud was inches deep on the studio floor. Water-pipes drizzled above the scene, and scene-shifters, astride rafters, poured water from sprinkling-pots upon Pearl as she sought safety in a cave. Then along came Warner Oland, who, aided by some scoundrelly natives, piled a huge rock in front of the cave entrance. So there w^as Pearl a pris- oner in the dark and damp interior, and — continued next w^eek. ‘I want to act like the re.st,” confesses Miss W'hite. “I’ve ahvajs (lone serials — and there is no acting in a serial. I want to emote. I know that the only three dra- matit: features I ever did were as rotten as they make ’em. But, darn it, I want to be an actress in spite of that !’’ (Sixteen) |e Rough ts SMITH Miss White pufifed at her cigaret. The striking profile beneath the astonishingly, almost improbably, blonde hair, held us fasci- nated. “I’m writing a book on my life,” she continued. “It’s going to tell the truth— the whole truth — the first time a screen star ever did.” Miss White studied her cigaret. No affec- tation here, indeed, but an interesting example of the God of Celluloid in his most playful mood. How he must grin to reach down and distribute fame as he pleases. We asked Miss White about her ambitions. “Of course, I want to act like the rest,” she responded. “I’ve always done serials — and there is no acting in a serial. You simply race thru the reels. Your dear old mother dies in a photoplay, and she takes 120 feet to do it. In a serial she gets 20 feet and has to step lively at that. “I want to emote. Who doesn’t? I know that the only three dramatic features I ever did were as rotten as they make ’em. They were the three most terrible plays ever done. Lord, but I was awful ! One of them was {Continued on page 72) “Look at all tbe mar- riage flivvers,’’ says Miss White. “No wedding bells for Pearl. You cant do it in the movies. I know how tired I am when I get home after periling all day. I’d pick a fight with St. Peter. No. it cant be did !’’ Dland, who promptly seized the star by the throat. I “Look terrified, Miss White,” admonished the tirector, and Pearl forthwith was properly terri- led, altho she held her cigaret behind her, out of ange of the camera. “Hurry up and shoot,” almly said Pearl, thru her look of frozen horror, t was astonishing, the easy way Miss White ropped into a dramatic pose without the slightest ffort to question or feel the situation. Then she returned and we sat in the mud. No one ever accused me of coming from a fine Id Southern ancestral home, and I never gave up ociety when the films won me,” confessed Miss Vhite. “I came up from almost nothing, and I’ve truggled every inch of the way.” (Seventeen) Bill DesinoTid is the original of Hirshfield’s famous comedy series, “Desper- ate Desmond,” It all came about thru Bill’s love of adventure Despen By liair is that hi l)ltie-black texttii tltat g-oes with Ik roes anti not wit villains and, ii stead of chasin the girl, the gir chase him. H lives in Los' Ar geles, Californit and tho kingdom are rather ont o date, his is then in the sun-fille< days of t h i i southern stated where he has hi ' h o rn e and hi! Stutz racer am' the Los Angela: Athletic Club. i Of whom am speaking? AV'illiam Des.-i mond, of Tri-. angle-Culver Citv fame, thru ah that s t u d i o ’ palmy and failing days, and now of the Jesse D, Hampton organi- zation of cellu- le) idic i)lanets, You see, back in the old days, when Bill Des- m o n d w a s sub- sisting on the sal- ary of a leading man in Morosco stock — and the admiring notes of Desperatk Desmond ! Do you know him ? Tell me how do you picture him to your- selves ? Tall ? thin ? With long, drooping mustachios, always foil- ing the hero and chasing the girl around the world ? I thought so. You are wrong, all wrong. The real, hon- est-to-goodness Desper- ate Desmond is of me- dium height, of well- filled muscular develop- ment, with a laugh in his dimples and a laugh in his eyes — blue, fringed with brown. And his voice has the ring of old Ireland in it ; the cheer, enthusiasm, imagination and blarney of the old country. His ambition was to make a tour of the world. All his as.sociates ; actors, writers, artists, who lived out there in California, were quite used to Bill’s monolog on “When I become wealthy T am going to travel all over the world,’’ A short time later Billy Desmond re- ceived a flattering offer to go to Aus- tralia and head a repertoire stock com- pany in .'Sydney. Strangely enough, he was not especially jubilant over the idea, but as the engagement was for only six months and would give him a chance to take at least part of that world journey of his. Bill accepted, and the impending voyage was announced. Then it was that Hirshfield of The Los Angeles Examiner drew the first of the series of cartoons known as "Des- perate Desmond.” He showed our friend Bill trailing all sorts of adven- tures in various countries, only he pic- tured him as the mustachioed villain and not as the clean-lipped hero. > The real Desmond isn’t de.sperate at all — that is, he wasn’t when I had (Eiijhteen) Desmond is hap- py and carefree, Irish and prodi- gal, generous to a fault, loving life and all its beau- ties, never mor- bid. His voice has the ring of old Ireland in it; the cheer, enthu- siasm, imagina- tion and blarney of the old coun- try femond iERTS ilcheon with recently on i| hurried trip ™ N e w Y o r k it — except he ‘|s desperately Jlv ions to get k to Cali- |)|.iia. Look what V York has to me,” he “I have :r had a sick in my life, here I caught . They have |t me rushing 4md so madly, ejween side- tiping people I fjlt want to see, n searching for ij,;e I do, that I ^5e scarcely had klhour with my [iiher, the real ;on, outside of iness, for my . But I’ve al- ^s been like [fl t . always mting to get 3|k to Califor- l|” he smiled, I e s p o n s i b 1 y , 6ch called for ;ame of hide- I'i-seek from his . Ijsually deep [iples. IjAfter myAus- |l|i 1 i a n trip, ■ i ch , by the !/, lasted two years instead of six fnths, and during which I played to most enthusiastic audiences I ever ;w, I opened in New York in ‘The of the Land.’ David Belasco no- d my work in this. At least he said liwas pleased and offered me a three- fir contract. I refused it because I hted to get back to California. Did you |,r hear of a more idiotic young cub? 'Every one says to me, ‘Bill, you ij,Et to let me be your manager. What ipuldn’t do with you ! You haven’t an lice of business in your make-up.’ I :.ays admit their accusations cheer- .■iy. But I manage to get along some- av without worrying over business de- ls. What’s the use? I honestly and ly love my work. I enjoy our Tues- evening crowd that goes to Vernon the prize-fights, our Saturday even- s at the Los Angeles Athletic Club. I e my car, and to race it at topnotch ed over the beautiful California ds. Should a man ask for still more of life? I think not.” “No, of course not,” I said, ‘‘but you really should have more photographs sent to us poor editors, who tear our hair to try and publicize you for both our sakes. Why not have a set taken at your beautiful house?” ‘‘My wife died just a year ago. The house is closed,” he said. “I am man- aging to live in an apartment and at the club.” And then because he knew I was un- happy for thus having aired his secret sorrow, he entertained me with little anecdotes of his life, as only a born actor and an Irishman can : “When Florence Reed and I were going out in the car to finish up the one picture I did here in New York, we got stalled and, as usual, a crowd of kids collected. One little urchin kept looking at me searchingly as he clambered over the mud-guards. His eyes grew larger and larger, until finally he burst out with, ‘Gee, fellows, here’s Billiam Desmond. Aren’t you Billiam Desmond ?’ I nodded (Continwed on page 77) (Nineteen) You probably think Miss Reed loves that it is a difhcult books, good matter to find Flo.- frc^T pu'.; ence Keed, because any- and being busy, body who knows any- And she’s tired of thing about the stage or playing vampires the screen at all knows that Miss Reed is always just as busy as any one person can possibly be. But a very re- markable thing about Miss Reed is that she can always find time for anything she wants to do or for anything that she thinks she really ought to do. Perhaps the.se last two months before our chat are about the busiest that she has yet experienced. In the first place, she had just completed her engagemei^t in Philadelphia with “Chu Chin Chow,” in which she played the leading role last season and inaugurated this one upon her return from a rest in her country place in Maine. In the second place, she was rehearsing for her new play, ‘‘The Road to Destiny,” in which she is being starred by A. H. Woods. And, as if that were not a sufficient task in itself, she was making a moving picture in betimes. And just to show that she never forgets her old friends, when ‘‘Chu Chin Chow” opened in Boston, she sandwiched in a trip to that staid city and re- mained long enough to give three perform- ances of Zahrat before returning on a train Florence the Orient [ that arrived in New York at seven in thi morning, so as to be in time for a rehearsi at nine. ] So Miss Reed’s days consist of rehearsals al the morning at the theater. When the worj comes to halt, she jumps into her limousint and .sets forth without further parley for thi studio, where she remains till her schedule 1! fulfilled. It varies from five o’clock in thi (Twenty) By AILEEN ST. JOHN- BRENON stitute a day’s work for any d-working woman, and no one jld be surprised if the answer ; “No!” to any suggestion of ther demands to be put upon time. But, as it was observed fa few paragraphs ago, Miss d always finds time for any- g she wants to do or for any- g that she is convinced that she ly ought to do. or instance, when she was asked lort time ago for an interview, answer came over the wire, as dial as you plea.se, “Why, eer- ily. When would you like to e it? My time is yours. Name hour you like.” t was then eight o’clock in the ming. Miss Reed explained that had just come home from the Hio. It was one of her early inings, she said. For the last r nights her work at the studio kept her until long after mid- it. But she was glad to have a it evening to herself, she said. :ave her an opportunity to study part for her play. About the rview, she asked when it uld take place. diss Reed proceeded to give an line of her plans for the follow- day. Hickson’s at eight-thirty, to start the morning’s routine. Hickson’s has never been )wn to open until nine o’clock, i say. It has never been known the history of that honorable ise that it pulled .its sashes up 1 dusted its doorstep until that ir, and how is it possible that ss Reed was to have a fitting at ungodly stroke of eight-thirty? ‘Yes, Hickson’s at eight-thirty,” ss Reed repeated. “The night tchman has been warned, so that en I appear on the threshold I :1 not be arrested for attempted rglary or as a suspicious-looking aracter lurking outside a busi- es establishment at an ungodly ur, and the fitters have been told set their alarm clocks for an rlier hour, so that there is no ubt that all will be in readiness the time I arrive. From there I to the theater for rehearsal. As on as that is over there will be e minutes to spare while I drive Dm the theater' to the studio, lich is just a few streets away, lere is not much time in between snes, because ne is so valu- le these days, ontinued on page 69) (Twenty-one) Miss Reed as the picturesque ZaHrat in “Chu Chin Chow” ■) Sessue : Hayakawa Is the Proud Old Japanese ( with the Manners of Modern Ameri In all his customs and manners and conversation, he is American to his finger tips; but one always feels that in Ha3’akawa there is the soul of some stern old Samurai book of cause The barometer had been falling all afternoon. The ofhe of the watch was in his oilskins. Everything movable < the deck had been la.shed down. The ship was strugglii and groaning in the grip of a Chinese typhoon. The lieutenant on the bridge turned to a little midshipmj standing at his side and shouted .something to him in Japanes 'Phe little fellow saluted and struggled along the bridg thru the spray and into the teeth of the wind, out over the n and onto the rigging. With the old training ship rolling HI a sick thing in the sea, first on her i)ort beam ends and th( the starboard, her topmasts whirring with frightful velocil across the long arc as the ship rolled, the little midshipma made his slow and difficult way up the mast. The little midshipman was Sessue Hayakawa, the Japanes [)icture star, and that is the stuff he was rai.sed on. No wonde that he knows how' to look stern ! I have known a lot of motion picture actors, but 1 have neve known any other one so well worth knowing as Hayakawa. He is a quaint mixture of actor, philosopher, athlete, pot and navy officer. To my mind he is one of the be.st actors on the screen, bu 1 think that his heart is somewhere out on a battleship, wher the big guns are frowning out of the forward turrets and th sea is streaming green down thru the scuppers. To para ' phrase Kipling, “Once you’ve heard the sea a-calling, you won never heed ought else.’’ Not long ago they were putting on a picture at Hayakawa’ studio in Los Angeles. The exuberant scenario writer ha( provided a situation which called for a council of Japanesi notables, one of wffiom was to be the Mikado. The Japanese actor who was cast for the part promptly quf the job and walked out of the studio. Likewise the next Hayakawa, being appealed to, told the manager it was use- less to try to induce any Japane.se gentleman to commilj .such indignity against his emperor. | “Then,” .said the manager, inspired by a happy thought “we will get a white man to play the Mikado in make-up. “If you do,” said Hayakawa, quietly, “every Japanese ii the studio will quit, and,” he added, “I will quit, too.” On another occasion a writer sent in a scenario wit which Hayakawa was charmed. He liked it so well that he sent for the author to help produce it. Hi started down to the train in his own automobil to meet him. On the way down, his manager chanced t mention the writer’s connection with very dubious loyalty to the of the Allies. Without a word, Hayakawa whirled his ca"i (Twenty two) i the Samurai By HARRY C. CARR around almost in its tracks and went back. So far as is known the re- creant author is still waiting. Like most sailors, Hayakawa is taciturn and economical of words. If he likes you he will turn sometimes to you, as he watches a set, and, in about twenty words, say something you will remember all your life. The other night we were down in Chinatown, where he was putting on a scene. The queer half-lights were casting gaunt, haggard shadows thru the little, whis- We see Hayakawa as an American, with golf sticks poking out of the tonneau of his car ; hnt heyond 1 see old Samurai temple.s and queer Samurai swords, strange aromas of Oriental perfumes pering alleys ot the quarter. Queer old fig- ures that looked like ivory carv- ings peered out (Continued on page 08) (Twenty -three) “I forget about time,” says Miss Brady; “I bury my- self, because I am so in- terested and I care for it so very, very much. Really, those are the things that count— fascination and ab- sorption” The strains of a fox-trot floated to us. The ripple of laughter, the ends and chips of retorts came, too. Now and then a maid would pass, offer- ing refreshments; or a khaki-clad chap would come searching, with, “Alice ! Alice! Where art thou?” only to be sweetly dismissed — as this was Miss Brady s first frolic in oh ! ever so long, and I wanted to find out how she could" have tolerated the seriousness of her , 'Career. “Y^s,” Miss Brady told me, as she nestled into the cushions of the alcove to where I had kidnapped her, “this is my first play in three years ! It was becoming rather tiresome. I’ll admit, getting off to the studios early in the morning ; working, working, working until six o clock before the camera ; rushing home, gulping down dinner (how Dad loved that !), hurrying to the theater, and after making up all over again, and playing Jennie, coming Where There’s an Alice Brady There’s a Way ( Twenty-four) By C. BLYTHE SHERWOOD straight here to the apart- ment— and bed. “Of course, now and then there was a dance, and once in a while a little fun. But I had to get a reasonable amount of rest for my long day’s work ; and somehow, never until now had I realized that ‘rest’ and ‘diversion’ go hand-in-hand. I never had time — or, that is, I never made time, because, as you know. I took this all upon me— myself — to go to the playhouse, or to see a movie, or to read a jolly book. Even my shopping was done over the telephone, and all my marketing attended to by the maids. “It all reminds me of George Ade and one of his fables. Something like six years ago (before I had decided to go on the stage and work), I remember reading one of his lovable stories, and then (the flash of Alice Brady dimples) taking this away with me ; “ ‘Early to bed. And early to rise. And you meet very few prominent people.’ ’’ “The celluloid world is hard and heartless,” con- fesses Miss Brady. “It de- mands youth first — then beauty. Because of my silly, irregular features, I have to work a great deal harder. You cannot im- agine how many disap- pointments my nose has caused me.” “But you are so young, so vivacious, so normal,” I plain- tiffed. “Didn’t you mind it?” “No,” she replied to my perfectly natural question, “I did not seem to notice it at all. I am strong and healthy, and I love to work. Besides, these are not the times when one can permit oneself to think of living a ‘cushie’ existence. The issue is fight or work. If I cannot throw hand- grenades for the boys, if I cannot suffer cooties with them, if I cannot help them capture a Hun, then the bit and the best I can do is waste no time. Every minute should be occupied. Every minute can be occupied. It is not difficult to get into the habit of doing. Where there’s a will there’s a way. “In fact, it has only been lately, when Dad begins to scold me, and then plead with me, that I have been considering re- laxation. He is begging me to take a month’s vacation. He claims that the least I can do is to compromise my routine for that short while by giving up the picture work and just playing in ‘Forever After.’ But not only do I guess — I know — that lounging around all day, doing nothing, would completely frazzle my nerves.” (A bright smile — and the dimples, of course.) “I forget about time. I bury myself, because I am so interested. And I care for it so very, very much. “For really those are the things that count — fascination and absorption. It is because school lacked that for me that I left when I was seventeen. I did not like it. It is for that reason, too, that Dad’s hopes for me being in grand opera were crushed. I had studied to be a singer, but I did not care for that field, either. I had always had a desire to go on the stage, and I believe that when a person wants to do some- thing with all his heart and soul nothing on earth can prevent him! It was that way with me. Dad was terribly opposed {Continued on page 70) (Twenty-five) Billie Rhodes — Circus Gir Billie podes’ second feature picture, “The Springtime of Youth, and the music was for the purpose of coaxing tears from performers, instead of money from observers. The beautiful young girl in the blue serge dress was, of course Bilhe. ’ This was on Monday, the thirtieth of September — the most eventful day of her life. Eventful because it saw the opening of her first feature and the beginning of stardom. In the light of this the circus faded into nothingness. In fact, she was paying so little attention to the action that, during rehearsal, while the rest of the cast was in tears, she absent- mindedly smiled. But, when the camera started clicking, she cried realistically and beautifully. No mere personal matter can cause a real moving picture actress to cheat the camera any more than it could cause a She is a restless little thing, is Billie Rhodes. Perhaps this is the most noticeable thing about her. They say that she will not live in any one house longer than six months if she can help if, and she admits cheerfully that she changes her mind about every two minutes The scene was a circus tent on a lot in Hollywood. You would have missed the popcorn crisp, and the pink lemonade, and the “barkers.” Elephants, too, and lions and tigers were conspicuous by their absence. But the tent was there, with its sawdust floor, and at the entrance stood the bearded lady and the clown and the strong man, and the bare-back rider and the lady acrobat. They were saying good-by to one of their number, a beautiful young girl in a blue serge dress, who was leaving them for riches and a life of ease. Every one, including the bearded lady, was in tears, while, off to the side of the tent, where they could not be seen, two men in shirt-sleeves played “This Is the End of a Perfect Day” on a ’cello and hand-organ. (You would hardly call that circus music.) However, with the excep- tion of these few minor details, it all looked very real. It was real, too, for- the time being. Wilfred Lucas was making a scene for (Twenty-six) ELIZABETH PELTRET “trouper” worthy of the name to quit in the face of an audience. At the same time — “I cant get my mind on anything,” Billie Rhodes admitted, when the scene was over. On the way to the studio she had stopped her machine in the middle of the street, and hadn’t noticed that she wasn’t moving until she heard .some one laugh. “Will tonight be the first time you’ve had your name in electric lights?” I asked. She nodded. She was to make a personal appearance also. “I feel a little sick,” she re- marked. “Scared almost to death,” said the “strong man.” “I’m not scared,” she answered, in- dignantly ; “I’m just excited, and !t's hot, and I cant jet my mind on inything.” I told her :hat I had massed the heater on n y way ) u t and hat the Billie has six broth- very good-looking. It was, too. Her crs and three sisters, name is a short one and so is easily her family “the big- played Up. She asked what pictures gest show on earth” were in the lobby. It was entirely the natural thing for her to say. 1 think that “The Springtime of Youth” is a good title for ne of her pictures. It fits her personality so completely. I saw her again the next day, after the ordeal of her per- sonal appearance was over. Everything had gone splendidly and the audience had liked the picture. She was very happy and still quite excited. This time the circus atmosphere was more pronounced. The ’cello and hand-organ were playing real circus music, and around the edge of the lot had gathered little groups of youngsters. Every one was in a humor for work, and so the action moved quickly and smoothly. It was half-past one before the company stopped for lunch, and then you would have felt that Billie Rhodes carried the circus with her to her dressing-room. .She is a restless little thing, is Billie Rhodes. Perhaps this is the most noticeable thing about her. “They” say that she will not live in any one house longer than six months if she can help it, and she admits cheerfully that she changes her mind about every two minutes. {Continued on page 74) ( Twenty-seven) So Toils the Busy Little Bebe Here we have Bebe glancing over her fan mail. Thirteen propo- sals of marriage and an offer to name a new brand of perfume after her! Such is celluloid fame ! “W'eighed and found want- ing!” Not when it comes to little Bebe Daniels, '-farold Lloyd’s leading lady in Rolin-Pathe come- dies. Even plus shopping- bag and umbrella, Bebe just tops the scales at Bn* that would be telling. By simply removing your gaze from the Bebe person to the dial, you can gather the information yourself Here is Bebe — snapped on Jim Jeffries’ cat- tle ranch, near Burbank. Cal.’ Quong Ben. Jim’s Chinese helper, swears, by the shades of his hundred and eight illustrious ances- tors, that nothing quite like Bebe came within his celestial vision heretofore. Leav- ing out the ancestors, we say the same thing (Tirentfi-eipht ) Holt--Who Goes There? In This Case It’s Jack, the Fascinating Scoundrel of the Silversheet By MARY KEANE TAYLOR Holt’s father was a minister in ole Vir- ginia, a far cry from the movies. Jack was up in Alaska for a long time as a mining engineer friends whom he had made in that desolate section of Alaska. Desolate ? Ugh ! The word makes one shiver — at least a Califor- nian feels tempt- ed to ask about climate, and I rushed in where angels fear to travel in a fliv- ver, anxiously asking, “Didn’t you ‘just hate the cold weather in Alaska ?’’ “Hark to a sol- emn confession,” said Holt. “Tve felt colder right here in advertised Cali- fornia than I ever did in- that north country. There’s such a deadly chill in the atmosphere here after sundown, the houses in winter seem to become veri- table morgues overnight when the fires are out, but up there one wears furs and woolens,- always remembering to don garments which prevent perspiration. It’s the latter that makes for chill. Of course, you dont look down on a stove, metaphorically speaking ; in fact, you have been known to get on most inti- mate terms with it, especially at night, when there’s nothing to do but swap tales around its cheerful sputter.” “Did you drift right into pictures after leaving Alaska?” “No, indeed. I was a cow-puncher and {Continued on page 66) ACK Holt may be a villain on the screen, but off ! I formed my opinion while we prowled about the Lasky stage-sets, trying to locate a cozy corner away from cowboys, villains, pretty girls in evening frocks and scores of directors and scene-shifters. First — Holt has lived almost as ad- venturous a career as any of the fasci- nating scoundrels he plays on the silver- sheet. Mr. Holt’s father was a minister in ole Virginia, so that’s a far cry from the footlights. Son Jack took the route gradually, for his dad insisted on a col- lege education, and the boy studied civil engineering. Before gradua- tion he was asked to assume control of the engineering end of a mining proposition in Alaska. He stayed up there a long time, not at all in- terested in his vocation, feeling always that there was something bigger for him, something which would develop into a loved hobby. However, he made good use of his time, studied types, wrote down some of his impressions, thinking they might come in handy some day, and was sorry to leave the queer, rough ( Twenty-nine, 1 Cutting the Gordon Knot Kitty Gordon is now starring under the United Picture Thea- ters banner, having some time since migrated from World Film. Herewith are some new photographic studies of the statuesque star ( Thirty} Have a Hart! Might As Weil — He Has- And Plenty of It By FAITH SERVICE SOME folks take a sort of joy in upsetting the preconceived notions of other folks. I do. I’m going to have the time of my life upsetting your preconceived notions of Bill Hart — you know, Big Bill — the Westerner — you know . . . I’m going to have an especially fine time, because the new notion — nothing notional I entered a correct suite. A correct personage, extra tall, advanced to meet me, with correctly outstretched hand. “Gawdamighty !” thought I. “Can this be ^ the riijhl hotel, but the zorong suite?’’ Then I looked,- and was reassured. There was no sombrero. There was no buckin’ b r o n c h . calls asks you about it, either— is so much human — nicer than the aforemen- tioned preconcep- tion. A person doesn’t interview Bill Hart. Not by a gun-full ! On the contrary he smokes a big, black segar, you “ma’am,’ you where went to school, and just talks on, quietly and ge- nially,- till it comes to you, albeit unpleasantly, that you have overstayed and, then cons>iderable, the pre- scribed length of time for an interview. Whereupon you re- luctantly depart whether you want to or not — and it’s not. If I didn’t interview Bill Hart, then I dont know what I did do — that is, I know what I did, all right — but I dont know just what to call it. But — “it” was at the Astor. Right here you get, or you should get, your first shock. Bill Hart — “Blue Blazes Raw don,” “The Border Wireless” — you know — in the Astor! Seeming incongruity, according to your precon- ceived notions, but not at all, not at all! You’re all wrong. It’s not the Astor that’s wrong— not even the combination of the Astor and Bill Hart. 'It’s your preconception that’s doing the damage. But then, I thought the same — before. I thought: “The Astor ! Absurd ! It should be, if it must be Bagdad-on-the- Subway at all, the Zoo, or the parkiest part of Central Park, or the wild wastes of the Bronix — anywhere — not the Astor and its ilk. My preconception didn’t run according to a speci- fication. If it had, I should say that I kinder expected him to come galloping down the velvet-shod corridor on a buckin’ bronch, brandishing a brace of pistols and yelling wildly. At the least, I looked for a sombrero. Instead of which- — - But the Bill Hart eyes met mine. The Bill Hart eyes are there. They looked at me as they look at you and me from out the .silver- screen. And the grim, somehow likable m o u t h — and the high cheek-bones, and the in- frequent smile But — correct tailoring, easily car- ried— well-cared for, potent hands — sleek hair — a voice so quiet as to be almost in- distinguishable at times — a manner rather weary And now — hold your ears! I’m going to let off some tell- ing shots in rapid succession : W'onien are his greatest weak- ness— admittedly. What do you know about that ? Woman-hater and all the things he has been called, too! (Bill, this is letting you in for a lot, I fear. Better hire an extra secre- tary!) He isn’t bashful! Because he is neither histri- onic, a po.seur nor a pub- icity shark — because he speaks natural, i V e s normal, works hard, says but lit- 1 1 e and says that ittle well. he has probably ac- quired the tim- idity reputation. He loves the pub- licity end of it — the recog- nition— the acclaim — the gladness his presence brings. (Thirty-one) - II^’s real. Whatever else he is, or isn’t, he's that — essen- tially that. And so, of course, he loves it. What normal human wouldn’t? “Only that I fear I fall short — that I dont measure up — dont de- serve it,'’ he says. And as for this woman- hating business — not he ! “/ fall so hard for ’em,” he says, “/ fracture my shill!” He thinks a woman is the most sacred thing on earth — that a man who is married to the woman he loves — kiddies and home — is the-to-be-envied of kings and potentates — and, he’s going to get himself into that enviable state ju.st as soon as he finds her. Also, he’s going to give her every- thing he possibly can of ten- derness and devotion — of pro- tection and care — and all he asks in return is — loyalty. y-\nd he snapped out the word loyalty with the characteristic narrowing of the eyes. There need be no specific type. “That would be impos- A snapshot of sible for any one to say,’’ de- Street up- 1 j TT11 U-.LI on his last Liberty dared Bill ; it s . ’ that indescriba- ble something totally unnamable. She needn’t be any particular va- riety, so long as I love her.’’ So, you see, she needn’t be one of the dareless daredevils — ride un- blazed trails before breakfast — be indefatigable — and all that. She might even use Poudre Riz and prefer a limousine to a mustang. In fact, she could. He told me so. Women apart, however, despite my rigid adherence to this so fasci- nating topic, he showed a some- what strenuous desire to talk about horses, which topic, being a woman, was not quite so intriguing to me. Bill Hart, irre- proachably tailored, and conversing feministically, was too anomalously fascinating. However ... he does love horses, almost inordinately, and he loves to talk MOTION PICTURE CLASSIC Bill confesses that he isn’t bash- ful, that women are his greatest weakness and that he’s going to get married as soon as he finds Her. . . . And she may even use Poudre Rie and prefer a limou- sine to a mustang about ’em. “I wouldn’t mind,’’ he says, “being criti- cized as an actor, but my hair just would stand on end if I. should be criticized as a horseman. Becau.se, ma’am, if there’s one thing on earth I do know, it’s horses. I under- stand them and they under- stand me. No horse has ever thrown me since I was fifteen, and I’ve never hurt one. We just get along, that’s all.” At the expiration of his contract he’s going to take a rest. The first in four years of, as we know, pretty stren- uous VV’estern stuff. And he is, even as he says, mighty tired. He looks it, and he acts it. “I could .stand a long rest,” he said, “a very long one. I’m going into the heart of New Mexico, with my horse and my dog and some books, and pitch my tent. There’ll be no one to call me in the morning — no one to call on me at night. I’ll sleep under the stars and dream under the sun — and together they’ll give me back my really remarkable recuperative pow- ers. It will do me a lot of good. I need it — need it badly.” Now, taking him by and large, is or is not your preconceived notion of him rather upset? Did you expect just this gentle- ness of him ? This quietude ? This grooming? And whether you did or didn’t, dont you altogether like it ? Isn’t it much nicer, much finer, much humaner, than a rabid, rather histrionic personage with an abhorrence for women and a per- sistent woolly Westernness? Not that he isn’t the West. He is. He is the best of it. He is the very heart of the West, tem- pered to the East. He is the true cosmop- olite at heart — with so much of humanity within himself Bill Hart is the im- possible meeting of the East and West. He is Blue Blazer Rawdon and likewise Mr. William Hart, Hotel Astor, New . York that he can take on, be one of, all phases of hu- manity, wher- ever the locale. {Continued on page 80) (Thirty-two) ...•Ka A: The Hope Chest Fictionized by Janet Reid from the Scenario of M. M. Stearns, based on Mark Lee Luther’s story published by the Woman’s Home Companion IF you are in, say your twenties, and are of the sterner sex, you have heard of the B. & S. Sweetshops — and you haven’t heard of them because of their edible sweets, either. You have heard of them, you have visited them, because of the tempting femininities fantastically set forth to seduce the eye. You have entered to come away clutching, according to your means, epicurean boxes of epicurean sugar con- trivances, and you have left behind not only a goodly portion of your purse, but likewise of your heart. Some one, it might have been B and it might have been S, or it might have been the two together, hit upon the happy idea that sugar confections should be set forth by feminine confections, and thereby made some cool and casual millions They made of their shops palaces of de- light, with bon-bons that were fantasies of sugar and girls made of rose-leaves and dreams. Then they flung open their doors, and the youths flocked in like bees to a honeyed hive. What happens to the least hap- pens likewise to the greatest. It happened to Tom Ballantine, whose doting male parent was the B. in B. & S. A capital B at that. Likewise was he the promulgator of the Great Idea. “Only em- ploy beauties,” he told his man- agers ; “Brinkleys, Gibsons, JJarri- son Fishers — dreams, you under- stand. Make it sweet enough to the eye and to the tooth, and the boys’ll come . . . they’ll come . . . and come to stay.” Never a rule but it works both ways. Never do we make one that we expect to apply to our- selves or to those who belong to But one boy certainly came — and came to stay That boy was Tom Ballantine, only son, only hope, pride and pervading spirit of his father’s life. But it was a Ballantine trait — to work prodigiously and to love pro- digiously. Life had deprived Tom Ballantine of the need of working. It had not, and could not, deprive him of the need of loving. Money can buy the form of love, it cannot buy the need of it. Tom Ballantine had heard, at college, with some amuse- ment of what he called “Dad’s new advertising.” Knowing his confreres, he accredited the “governor” with some per- spicuity. No doubt many a long- forgotten, juvenile sweet tooth would once more become prominent. Pretty soft, having beautiful girls gathered for one. Dad was become something of a philanthropist. It became rumored about that of all the B. & S. Sweet- shops, 'the big one at Atlantic City was the most delectable, in many ways. Tom Ballantine went down to the Marl- borough for a brief trip after his strenuous year and, non- chalantly, dropped into the B. & S. one peculiarly balmy after- noon, merely for the unaccustomed want of something better to do. It was an exceedingly balmy afternoon, as he was ever after to recall. The air was warm with spring and strong of salt, and as he entered the B. & S. it swam before him with the sweetness of flowers and the delicacies of extracts of perfume. Alto- gether, Tom Ballantine had a sense of the impending, tho what could impend by merely entering one of his father’s stupidly commercial string of blatantly ad- vertised stores was more than he could reason. But then, he didn’t reason. It was not a day for reasoning. It was a day for drift- ing ... a day for . . . loving . . . This idea came to him, and his young face crimsoned, and his young pulses hammered and, because he was so un- accountably stirred, he stood rather stupidly in the rose-tiled center of his father’s shop, and something — some one — wafted up to him and made the perfumes all about him sigh and bestir themselves . . . and all at once he knew w'hy he had had these thoughts . . why he had come . . . why the air was as it was . . . just why he had been born . . . I cant describe those next moments. I dont need to — if you are young. Nor even if you are old in years but never have forgotten. That soft fever . . . tender delii'ium . . . eyes meeting eyes . . . and clinging . . . swift breaths . . . chaotic words . . . moments fleeter than thoughts . . . eternities in moments . . . Nor even that twilight, sitting very close together on the dimming boardwalk, eyes shining out of the gloaming, breaths strug- gling with the fanning air, and “I love you” summing up the total of existence, past, pres- ent and to be . . . soft laughter . . . softer tears . . . stuff o’ dreams . . . the poignant, tender mystery of youth in its first love . . . I can tell you that when they separated that night they had decided to be married the next day. He said: “I cant live without you, Sheila ... I cant ... I cant ...” She said: “I love you more than any one has ever loved before !” And they held each other close while the night grew wild above them, and the surf soughed and drew away at their feet, and when they kist, more wildly than the night, their faces were wet with a saltier stuff than the sea. They were unutterably happy. And it was all unutter- ably beautiful. A miracle had come upon them, and they were set apart. The next morning Sheila didn’t go to the B. & S. Sweetshop. Tom had told her not to go there again. And she had the curious feeling that she wanted to be by herself, wanted to think, to realize it, to believe in it. She found that she couldn’t, that her mind shied away from it as from something past all thinking. After a while she came to a small vaudeville theater, and abruptly she came back to realities. Lew Pam was billed there, and Lew Pam was her Daddy. There is a great deal of difference in being one’s father and one’s Daddy. Lew Pam might be said not to have made good as regards the world in general— in the loving heart of his “little girl” he had made more than good. Sheila didn’t remember much about her mother, save that she had taught school, had been a lady, and had left her small daughter an exquisite old hope chest, quaintly and beautifully carved and filled with fairy garments woven of the trans- lucences of moonlight, the ephemeralness of stardust, priceless, timeless exquisitudes. ■ (Thirty-three) MOTION PICTURE * further — not to go away without first going straight to Tom’s parents. ‘‘Honey- moons can wait a week or two,” he told her, ‘‘you kiddies are so young. The old folks cant wait ... I know ... I know ...” And because she knew that he did, Sheila insisted upon going direct from the ministerial presence to the paternal one. Both Father Ballantine and Mother Ballantine ran strictly according to type. They grasped the fact that their boy — was it only yesterday that he had gradu- ated from knee-breeches? — their boy was married — and that the designing female who had so ensnared him had been a salesgirl in their employ — and that was enough. Father waxed pro- fane, choleric and, finally, completely unintelligible, and mother fainted, with all the skill and dexterity of a long prac- titioner. After restoratives due and un- due, sputtered explanations and frantic flappings of huge paws from Tom, a peculiar, arresting stillness from Sheila, order evolved out of chaos. Father dis- covered that the girl was distractingly pretty, and, at least ostensibly, a “lady.” Mother took note that she was dressed with a complete lack of everything save a surprising taste and delicacy. Both of them began to assume a human expres- sion. The final upshot of a rather distraught conclave was that the ‘‘bad children” (said with reprov- ing emphasis) were f o r ^ v e n — but that Tom must take his senior year at Harvard, and Sheila must On the night before .she left school for good, she knelt by the hope chest and tried to visualize the mother she had never Twilight, sitting very cltise together on the dimming boardwalk, e\es shining out of the gloaming, breaths struggling with the fanning air, an “I lo^■e vou, ” ‘hiheila remem- bered all about her father. Little things like the ten- der w ay he had tucked her lean and shivering little body into strange, hotel beds, heard her, with a mother’s patience, stumble thru her prayers, brought her crude, impossible toys, deco- rated her Xmas tree, sacrificed for her and greatly loved her. Kittle things . . . but big enough to break the heart of pity when the warm hearts who do them are no more. Lew' Pam had decided to be “no more” for Sheila as soon as she was moderately well schooled and indepen- dent. He knew his own failing. He knew that he had not, and never would, make gpod. He knew that he could never be an object of jiride to the beautiful woman his “little girl” had growm to be. There were times when he felt glad her mother had died. Her disappoint- ment in him would have been a. frightful thing to him. Sheila was a lady, and the world w'ould find it out. Lew Pam believed in the world. He thought it pretty much on the level. He believed in it if it hadn’t altogether believed in him. Xevertheless, when Sheila came to him, last night, an aftermath of glory on her young and glorious face, came to him and told him that the son of the B in B. & S. had asked her to marry him, go aw'ay with him, that she loved him . . .oh, hard . . . Lew Pam took his second-rate, not-much-account ^elf and promjitly and for all time shelved it. “You mustn’t bring me in,’’ he commanded, some of the long-ago, very occasional “Daddy” peremptbriness in hi^ voice; “if you are hapy)y, / am happy. If you’re not, I’m not. 'Nkni'i-e going to have a harU enough time as it is, little girly, just because \<)u took money for 'clling his goods from the B. of B. & S. I’ve heard Ballantine is a mighty square sort of I'odger — but — this kid is Ins only son — and — he lint going to fall for it, face down, Sheila honey. W’ith a .slap- stick comedian playing cheap circuits for a pop . . . nix, kiddie, nix !” Sheila didn’t pay any attention to her father's description of himself. She paid attention to his plea for his own happi- ness thru hers. .She knew that he would gloat and hug to his .diiny chest the fact that Itis girl, his Sheila, was the daughter-in- law of the moneyed “B.” He would feel that, in a sense, he had made good — with her. at least. Probably, if she forsw'ore love now, she and he would just drift along with their sort of scummy little current, with their rancid little coterie, and neither of them would know' an instant of anything save regret and the dull care of semi-poverty. And then . . . last night swept over her with its warm breath of the salt of the sea . . . the promise ... its unutter- able promise . . . and she turned to Lew Pam a face so poi,gnant with ten- derness that the comedian rubbed his eyes and sniffled in his nose. So this — this — was his little girl ! Before they parted he admonished her (Thirty-fovr) CLASSIC "You did see hit!-, she pro; e sted, "in a tlieater— he eanie on*' — \ ou - you I a ugh cd at him and I--I — went out — " money the Ballan- tines lavished upon her — the money, that like a fairy godmother’s wand, touched her, and lo ! cobwebs clung to her slender body, fur^ weighed down her lissome throat, jewels snrnng from her jmetty fingers and gleamed that they were there. Xo more dark circles under her tender eyes, no more wearv feet from long standing on the rose tiles of the B. & S., no more figuring, straining, planning, wrenching a dollar to buy the beauty she craved when it could not buy the grim necessity she needed. Affluence . . . ease . . . fiowers . . . music . . . beauty . . . the frame . . . the frame for which she knew herself to be the perfect picture. She could not help it that part of her- self was lulled, was .satisfied. She could not help it that she had been hungry and now was being fed. Neither could she help it that every one w’as satisfied but Tom. Tom, it was dawning upon her, would be an omnivor- ously hard per.son to satisfy at best. Since cradle days life had poured forth her largesse upon him, and he was in a state of perpetual expectancy. He did not like it because she was happy and said so; he did not like it because the Lounsberrys had taken her up ; he did not like it because his mother made much of her after the Lounsberrys did. He didn’t, it appeared, care for her to have a coherent thought that did not have for its basis that pulsing night by the sea. Apparently, thought Sheila, she should ha\ e been born on that night and, coinci- dentally, ceased to exist. Her ])ro- tracted state of being after that night seemed to have caused Tom nothing save torture. Heretofore Sheila’s life had been bounded by the stripling youths who s|)ent their fathers’ careless gold in the B. & S. Sweetshops for the doubtful {Conf'.inicd on paijc tid) .■'[tend a finishing school to be ])ersonally selected by Mother Ballantine. Tom protested with fer- vor and at length. N^ot much! Not for him ! He was a married man. He would assume the respon- sibilities of .such an indi- vidual. He would have his honeymoon. He harped, at length and rather childishly, upon his being defrauded of his honeymoon. It seemed to awaken no answering echo in the parental hearts, from which, he gloomih' meditated, such a moon had long since waxed and waned. Further despair settled upon his ardent and now frustrated young spirit when he observed that Sheila was taking, and not unkindly, the mandates being laid down to them. Scorn kindled in his eye as he fixed it upon her. Could it — could it be that she had married him because of the “B.’’ in B. & S.? The mere surmise shot him with horror. Could it be even vaguely possible that she had forgotten that night by the sea — that immortal, immemorial night Had she crushed the potent fiowers of h under her earthy young feet so that not even the overpowering per- fume drenched her nostrils? M^ere her light feet cla\? When father and mother had gone into conference d deux, he told her all this, gloweringly. He accused her of being mercenary, of being cold, of being fickle. He accused her at random — he. who only that other night had muttered his soul’s quintessence of pa.s- sion against her lovely hair. She couldn’t answer him as she would have had she had the words. And she pitied his w'hite and blazing face un- speakably. Yet she felt, be- cause she was a w'oman, and was to be a wise one, that the two old people knew best. That they were pointing for their two impetuous feet a course leading thru the stars. A love that had flared like a rocket into the night ... it needed testing, it needed try- ing. And then, when it had stood the testing, come, re- fined, from the trying, there would be distilled for them the attar of the rose of Para- dise. The following week Tom, still sullen, went back for his senior year, and Sheila went to Miss Perrin’s fashionable school on the Hudson. From her slim, dead, inex- plicable mother Sheila had inherited 'a passion for a nicety of learning, and also for the niceties of living. Perhaps Lew Pam. with his loose career but his straight philosophy, knew this. Be- cause she had And at last he ’ a m e . . . not Tom . . . hut the man he had become been so long gainsaid the girl loved, all the more, the ( Thirt/i-fit:e j Ann Little and the Great Desire and straightway thought to yourself, ‘I have said that very thing before, but not within the memory of my present life.'"’ Have you not experienced day-dreams wherein you saw clearly places and people and things that you knew full well you had never seen — in this life, yet these were as real to you for the mo- ment as actualities of yesterday? Perhaps these subtle ways those old existences m crowd in upon the present, striking thru sometimes when the veil is thinly drawn. “Have you never felt the promptings of the Great Desire? The one thing that it seemed to you was your most ardent hope on earth from the very day you began to think of things that mattered? You may say that these things are inherent from one’s forebears, that they are simply inherited predilections. But this is an insufficient explanation, to my mind. I do not believe particularly in hereditary traits. More likely, I think, desires and pecu- liar aptitudes are the result of the persistence of past desires and aptitudes than of those jiassed on from one generation to another. I believe in the individual persistence. One man’s thoughts and hopes and aims are his; they are not another’s. “I do not believe in he- reditary traits,” says Miss Little; “I think de- sires and peculiar apti- tudes are the result of the persistence of past desires and aptitudes passed on from one gen- eration to another” “Nothing that is worth while, nothing that is fine, or good or beautiful or right — ever is wasted, lost forever. Can we be- lieve that the mind of © Evans Ann Little was in a philosophical mood, and, as any one knows, when a person is in that mood the tongue gives utterance to the unusual, or else, the very trite. But Miss Little was hot talking platitudes. Possibly the fact that she was playing Naturitch, the ill-fated Indian maiden in “The Squaw Man,” had in- duced the disposition to philosophic utterance. The Indians are known to have come close to the border- land of things hidden from most of us, thru their asso- ciation with nature unfettered by the bonds of civili- zation. Be that as it may. Miss Little opened the way toward a consideration of transcendental topics by asserting stoutly that a worth-while desire never fails. “What we most desire in our lifetime,” said she. “we may not always attain — in that period. But there are new lives for each of us — and some time, perhaps in the dawn of new centuries, we will be born again, and with us that desire will be still persistent.” “You mean,” we asked, “that you believe in reincar- nation?” She smiled. “In a sense — but I do not believe in the transmigration of the soul, if that is what you imply. I do not think we come back as dogs or cats. Or that we will remember our previous existences, save in those occasional backward flashes of memory, such as we all experience at times. Have you ever visited a city for the first time, assumably, only to feel that there are familiar things- there — a street corner, an old house — that you seem to know? Have you ever said a thing (Thirtyxix) stop. It is without the s])ur of a good purpose, of tiie Great Desire. There must be many useless lives that perish. But nothing good can ever die. “Take the war. On the battlefield have perished many lives, no doubt, which had no impetus that will be sufficient to impel a persistence' of the individual. In a word, they die and are ended. We can well believe that the brutal hordes of the Hun consist of many such individualities. But can we believe that the men who have fohght for the good cause,' for right, liberty, jus- tice, honor, love and the freedom of the world, and who have laid down their lives in this cause — can we believe that they are ended They have progressed, attaining at a bound the goal for which some of us mav strive thru this and other lives to come. And they "will be born again, in different forms, but with the same Great Desire, the desire for good, for justice and spiritual, not material power.” Miss Little paused and .smiled, a little sadly. “In my profession I know that certain things I feel and think are not the product merely of my education, my experience— in this short existence. And I know that if I do not feel I cannot act. No one can. Never tO’ have felt sorrow, joy, anything of the deeper emotions, means that one’s acting will be artificial. What prompts me to some height of expression in a role ? Surely not mere mimicry, but the power to feel, possibly a remem- brance of such feeling in a previous existence, breciking thru the veil and swaying my mind with old thoughts, old dreams, old hopes." By ADAM HULL SHIRK a man, say like Abraham Lincoln, perished when the mortal was consigned to dust? Is it not easier to suppose that the mind never dies, but remains with the individual con- sciousness, to take new form upon the earth in time to come? Is it not easier to suppose that the mind of Lincoln may be living in the greatest man the world has known to date. President Wilson? That, indeed, the latter, with another name, another personality, is still the .same individual, with advanced powers, who was the greatest man of his period, and that prior to Lincoln the .same individual had been progressing down the ages, striving to- ward a full expression, the attainment of the Great Desire? “Why do we find so many people in the world of merely average mentality, who ap- parently never achieve anything of note? Be- cause there have been so many in each pre- ceding phase of human life. We must grow with each stage of our progression, else we shall continue on in that same groove for countless aeons perhaps. “We waste much of our force in idle living, talking, doing, striving for merely material things, losing our gra.sp on the spir- itual, in evil deeds. Conceivably the mind thus emi)loyed may cause the indi- vidual to retrograde and come to a full “Nothing that is worth while, nothing that is fine, or good, or beauti- ful, or right — ever is wasted, lost forever,” be- lieves Miss Little. “Can we believe that the mind of Abraham Lincoln perished?” (Thirty-seven) Herbert Brenon in Merrie England Mr. Brenon considers Miss Lohr an unusual screen per- sonality. One of her biggest stage successes was scored in London in Frances Starr’s orig- inal stellar role in “Ma-ric Odile” Herbert Brenon has now been in England some eight months. ^ iMuch of this time has been de- voted to the filming of a propaganda production for the British Government. The photo- drama was written by Sir Hall Caine. One of the principal roles is played by Marie Lohr. the well-known British actress, whose screen possibilities were discovered by Mr. Brenon. In the adjoining picture, James McKay, an American assistant, is shown at the camera /'Th irt II -eight ) Fhe Man Who Is Never Himself George Fawcett Lives the Characters He Plays By FRITZl REMONT For twenty-seven years footlights, floodlights, Kliegs and Cooper-Hewitts have shed their unrelenting rays over the plastic countenance of George Fawcett. And few character actors have to their credit the creation of as many roles as I Fawcett. Not even a freakish October shower in California could , : dampen the anticipation I felt in hunting up the vicar of “The : Great Love.” But before we’d conversed ten minutes 1 had 1 met a series of the delightful folk and had become intimately i acquainted with the man who is never himself. For even ofif- il screen this actor forgets that there is one George Fawcett i and, untterly unconscious of self, tells his story to the accom- h paniment of characterizations droll and amusing. “Let’s see — autobiography,” said Mr. F'awcett, with a . chuckle, “that's the horrible history which never interests any ; one but the man who’s writing about himself, isn’t it? Fd i hate' to inflict anything like that on a long-suffering public! “I was educated at University of Virginia, without a care in lithe world, had a very wealthy father, and never ex})ected to do a tap of work for the rest of my days. Of course, I didn’t i want to be an ignoramus, and I enjoyed study, but equally I alluring were the sports at the college. I was captain of our :ball nine all the time I remained there, sang, acted, was in the jiglee club, and did everything well in the way of out-of-door ;! sports. j “Then my father died, after a lingering illness, and when I jjwas called by his attorney to listen to the reading of my dad’s ['will, I was disagreeably surprised that the lavish living of years, together with enormous sums spent in travel and for : I physicians’ services, had made the drawing of a will almost ' la farce-comedy. I “The lawyer said to me — well, Fll show you, I remember j:i so well just how he looked and what he said. Sort of a short- I necked fellow — went over to the door like this, tapped on the 1 jjwindow-panes with pudgy fingers, and said to me, ‘li'liat are \-'you going to do for a living?’ ” : George Fawcett was gone! In his place stood a dignified figure with a noncommittal legal aspect, one hand rumpling I his hair, the other drumming exasperatingly on the glass of [ithe door. We’d left the Griffith studio and were ’way back in ole Virginia, waiting to see what twenty-one-year-old I George Fawcett was going to do, sans fortune and sans Evocation. I “Talk about the riddle of the Sphinx! Why, it was nothing I compared with the question that old solicitor put to me. Work? I didn’t know what it meant. I was strong and husky and certainly not afraid of it, but it was a poser to find I out what I n'as going to do to make a living,” continued Mr. . Fawcett as he dropped into a chair. ;i “I said to the old gentleman, ‘Well, a friend of my father’s I has a big business, and he offered me a job as traveling sales- man when I left college. I .suppose that would be open to me jnow. But I dont know that I have any leaning toward sales- manship— it looks like a poor idea to me.’ “The, lawyer coughed. Then he answered, ‘I dont think j|much of it — what else could you do?’ I scratched my head ;|while he puffed at a dark Virginia cigar — see, this way. Then ill tried out another theme. ‘I might go West to the goldfields; ' there s lots doing in Nevada just now. I might be as lucky ijas the rest.’ ? “We both sat silent after that, so it dawned on me that the ;dea was not brilliant after all. ‘Any- ijhing else to suggest .' said my father s George F'awcett, in adviser. Then an inspiration chased his famous charac- ijicross my mind and I brightened con- terization of the lov- iflderably. ‘Yes, I’m a good actor. able Md French p<,ilu \e done lots along that line in World” (Thirty-nine) i MOTION PICTURE CLASSIC college and in home theatricals, and people always said I had a natural bent that way. How about acting?’ “The lawyer brigntened aston- ishingly. Last thing in the world I had expected, tho. He said. ‘That’s a good business. There’s money in it, and you can have a letter of introduction from me to my intimate friend, John Albaugh, a pro- ducer.’ I think he felt relieved to get rid of me so easily, old friendship for the family having prompted him to do all he could. “Anyway, from that day to this I’ve never been without work. Sometimes there were a few days betwen engagements, but really I encountered no serious difficulties, slipped right into my proper groove and loved my profession. Oh, yes, I did have to borrow some money to get a start, for there were iterns of costume in those early days, as well as meeting living ex- penses, until the first pay-check fattened my pocket, but T y^aid it back— at least, I hope I did !” “What was your first big play."’’ “ ‘Paul Kauvar.’ In that I created a really fine part. We had a splendid company. Later I traveled with the famous Salvini, yilaying lago to his Othello for one year. It was rather unusual, too, for the entire company read the lines in Italian and I spoke English, a queer way of presenting Shakespeare and a compliment to my ability, for he made this exception simply because of his liking for the way I essayed the role. “So you really had your groundwork in the old school of acting, Mr. Fawcett."’’ “I believe 1 am the only actor living today who can switch from one school to the other without difficulty. _ I was so thoroly drilled in the melhod then called ‘theatrical’ that, when the school of so-called ‘realism’ crept in, the school which we now use e\'en in films, I found it a little difficult at first to readjust myself. This is the way we used to walk and talk what he had done, but his consummate mimicry and his con- stant living in his roles has made them part of himself, a series of living com- yianions thru whom he talks and with whom be cojnmunes. “With the entrance of the new school of acting, I started out to master it. Gradually 1 gained confi- dence, and one memorable first-night in a big New York production, I had a part which called for my entrance to a room where a man and a girl were (Coiiiiii'iied on page 71) Center — An off-the- screen portrait of the man who is never himself, while above and below are two contrasting character studies of Fawcett big, deep, chesty voice, shoulders back, slow stride, every word profoundly uttered — in short, it was always un- natural, the thing the public wanted to see — that which it called acting. To lose one’s own identity in theatrical effects was the goal for w'hich each strove.’’ Goodness me! 1 had actually lost George Fawcett again, just when I thought I had him. Instead, a frown- ing lago stalked across the private sanctum of David Wark Griffith, reciting lofty lines of the pa.st. “Oh, yes, but then followed years of swashbuckling, the romantic school, wearing o’ th’ buskin, swaggering walk, and a ‘ho, ho, and ha, ha, m’lady’ style. 1 was with James Herne, I played in ‘The Bells’ — and you can imagine that called for an entirely different characteri- zation, but still very theatrical. There was that old Jew I killed, the bells ringing, ringing, snow on the ground, and I .stoop over like this, and — a shriek — ‘He’s dead! He’s dead !’ ’’ Whew ! I wiped the damp perspiration off my brow, for an old chair had been turned over for the sleigh, and, in my mind’s eye, I saw the old Jewish peddler realistically killed, while a white-faced, trembling man drew back in horror with the pouch of gold. There’s no use talking, George Fawcett is so utterly absorbed in his art that he wasn’t acting for me, he wasn’t trying to show (Forty) (holographs of Miss Chadwick copyright JoGENES had a wonderful start, but I have Ijcaught up to him. Perhaps it’s because |he had an old-fashioned lantern, while iji an electric flash, a 1918 model ranted an honest man. That was I have won a Croix de Columb discovering a, movie player who kthe truth about her salary, about f jay she broke into the movies and if herself in general. She might b;said ; ‘m advertising concern begged for i jse of my picture. As soon as it appeared in Hay the presidents of five Moving Picture con h sat on my doorstep all one night, pleading jlme to save their companies from ruin by ^ng for them at five hundred a week. I i ted. They began to bid, and finally dt; got me at three thousand.” M I might have believed it — but she When I suggested that Helene (A'ick give me a clo.se-up of the road jne, she twinkled from her good-looking til to her hazel eyes. By ETHEL ROSEMON Fame Found Her In the Subway Helene Chadwick Sought the Elusive God Success Via Advertising Car Cards “Do you remember the old illustrated songs, where shy young girls gazed up into the eyes of handsome collar models, as they stood beside impossible gates draped with flowers in colors that exceeded the wilde.st dreams of the most ad- vanced futurist?” she reminisced. I nodded. “Well, that was my first appearance on the screen — I mean as the shy young thing. When I was in the graduat- ing class in school, the girl who sat next to me told alluring tales of the fun she had and the money she made posing for songs at a studio near her home. Helene Chadwick started b y posing for the good old i 1 1 u s t rated song slides, then she be- c a m e a model for a d V e rtising car cards ^orty-one) MOTION PICTURE CLASSIC means of a paste of which I had never heard. My hair fresf from the irons of a hair-dresser curled at the mere mentioi of Restorer Brothers’ wonderful fluid. I radiated comfor after walking ten miles in a pair of shoes that pinched so could scarcely keep from registering pain instead of pleasure “One day while I was posing for these innumerable things an advertising man suggested that I try moving pictures. “ ‘What? Start as an extra, and stand around hour aftei hour waiting for some director to condescend to gaze at me and then pass by? Not if little sister knows it,’ I replied. (1 had already done some fashion posing for Vitagraph and hac seen the life of an extra at close enough range to suit mj ambition.) “The advertising man said I wouldn’t have to start that way, He knew that Pathe was looking for a girl of my type whc was willing to work hard at a small salary until she had made good. I cant say that I had much faith in the proposition, but I went to see the man — and I got the engagement. It wasn’ talent or anything as worthy, but six-tenths blufif and four- tenths independence. The contract said thirty a week to start. I was averaging sixty posing, and tho I was willing, even eager to sacrifice the thirty for the sake of the work, I did not wear that’ eagerness as a hat-trimming. If a girl could only be born] with the knowledge that a little independence goes a great way tow'ard success, she would be saved many a heartache. “And now for the bluff. ‘Could I ride? Could I swum?’ Of course I could. That was true in a way,, too. I knew that other girls' rode and sw’am. I could, but 1' just didn’t. That was a nice distinction in words, w’asn’t it? Perhaps the secre-, tarial course had done some good after all (Continued on Mge 73) The second horse Helene ever at- tempted to ride was for a movie melodrama. Miss Chadwick stuck — and got a w a \ with it “ ‘Why dont you, come up and try it some Satui'- day ?’ she suggested. “Even at that age I had visions of appearing before the public, but I had not yet decided in w’hat capacity. The copy-book said something about ‘grasping the Golden Opportunity.’ “ ‘This is your opportunity,’ I said to myself. ‘You’d better grab it while it’s near.’ “I did, and every Saturday found me posing for pictures which would later flash on and off the screen in some little theater wdiile an embryo Caruso would sing some ballad about ‘parting at the garden gate.’ If you could have seen some of those gates you would have understood the reason for the parting. “Right after graduation mother had me start a secretarial course. Stenography, with its tantalizing lines and dots and curves, could never equal the camera in its power to charm me. “ ‘Helen,’ my mother said one day, in a tone that I knew^ meant ‘Here beginneth the first lecture’ — ‘I dont see any use of my paying for your course if you’re going to spend half your time at studios.’ “I agreed with her perfectly and begged permission to take up posing in earnest for advertising, posters, subway and car cards, and so on, just to see what I could do with it. At last it was granted. Then I began. 1 drank coca cola with a broad grin, just so the public would know I was enjoving it and go and do like- wise. I exhibited my teeth kept in perfect condition ' I TOW that life has ju.st oi)ened for me, I cannot help looking 2!^ back with wonder upon the twenty years of my being . I ' twenty years alone on ’Ception Shoals with no one but lad ... at least I thought he w'as my father until a few |iort months ago. I For those twenty years I never saw a single [uman being except him. Just the lighthouse, he rocks and the restless sea, rolling smilingly, klf caressingly by day ; pounding, shaking the pundations of the lighthouse by night. And e storms, with the elements battering against \e Shoals ! The loneliness of it all ! As far back as I can remember. Dad gave e old boots, trousers and a gray shirt. “You ijin play anywhere, child, but if you see a boat pming towards 'Ception, you hurry to me. Un- prstand ?’’ I was timid . . . and I feared Dad. I puldn’t understand myself. The one or |vo books that lay in the lighthouse !ving-room — the Bible, “The Pilgrims’ Irogress” and “The Life of Christ” — izzled me. I wasn’t a bit like the en in the stories. I tried to reason out. > I’d walk along the rocky shore id watch the sea and think. When I ould attempt to talk to Dad, he would are me into fear. “Silence!” he’d most shout. “The devil’s jirompting :. Dont talk about what you know' Dthing.” Anything was better than bring down that bitter snarl upon ly head, so I’d go on climbing the )cks and watching the sea, won- jsring. So passed the twenty years ntil . . . one day a man clam- ;red unexpected- ' upon the rocks eside me. He [as younger than Dad . . . but dirty [ . . I hated his every appearance. j| He stood gazing at me in w'onder. jLord love me,” he exclaimed ; “it’s the id!” With that he climbed up beside me pd seized me in his arms. I shall never ;prget my nausea. ' He forced his lips igainst mine. A kiss, he called it. I rulled myself away from him and ran to he lighthouse. Dad was trimming the imps. He noticed my appearance and jemanded, “Child, what ails ye?” “A man — kist me — why did he do it ?” exclaimed. Dad seized my hands, almost jerking le off my feet. “It’s the devil in you that attracts, ou’re Faith all over again, and ou come rightly by a soul as lack as hell. Keep out of sight rhen men come upon these acks. As for that d — d light- ouse tender, Jim Smoot, I’ll ill him if he comes near you gain.” I ran away to my room. That strange, curious kiss had tirred me. I knew not why, for I hated the man. Was I a mman? Was this life, being kist by a stranger, all grime and irt and the smell of whisky? I knew the odor of whisky, ecause Dad always drank a small glass of it on stormy nights. I puzzled for days, and then one night, at sunset it was, a essel anchored off ’Ception Shoals. I watched them lower a niall boat, and I ran away to the lighthouse. From a window could see the strangers land. One of the men was Jim Fictionized by Frederick Russell from the Scenario Based on H. AUSTIN ADAMS’ Drama Smoot. There were six or seven likg him, but at their head was a man . . . younger . . . clean . . . alert . . . dif- ferent ... I watched him, fascinated. They entered the lighthouse, and I heard them talking downstairs with Dad. Not everything they said came to my ears, but I did hear the young man exclaim : “Man alive, cant you do it for the sake of common decency?” And Dad snarled, “I’ll have nothing to do with women, d — n them! No baby will ever come inside ’Ception light. That’s final !” With that they went away. I saw the small boat make its way thru the scarlet sunset to the bigger vessel. But that re- mained anchored. Next day I went in bathing, as usual. Coming out, I climbed up upon the rocks ... to rest in the sun . . . when I came face-to-face with the stranger from the yacht. “By George !” he gasped in surprise ; “you’re superb . . . superb . . . who are you ?” “I’m Eve,” I answered. “The eternal Eve,” he laughed. “I’ll admit that. But just what particular Eve?” “Dad keeps the light,” I responded. “That old catamaran,” said the stranger, startled. “You cant be his daugh- ter. Why, you’re a captivating little girl !” I didn’t understand. “A girl ?” I repeated. “Am I a girl ? But cant you see I’m a boy?” The stranger chuckled. “You’re captivating.” But I was thinking. So I was, after all, really a girl. I felt myself blushing. I half started back. “You’re delightfully ingenuous, Eve,” he said. “Haven’t you been to school . . . dont you know anything of life?” “I’ve never been away from these rocks,” I confessed. “Just the sea. Nobody has taught me anything. I’ve just seen three people in my life.” ‘You are an Eve !” said the stranger. “Listen, child. I own that yacht out there. My chief officer took his wife on our last cruise. But a baby came . . . last night. I wanted to have her brought ashore here . . . but your Dad refused.” (Forty -three) MOTION PICTURE “But Dad has gone to the mainland for th( papers and mail,” I told him. “Bring her ashon now with the baby. She can have my room.” “What will your father do?” the strangei warned. “I dont care,” I exclaimed breathlessly. “I’vt just discovered I’m a woman.” So they brought the woman, Maude, ashore with the baby ... a little ball of wailing pink . . . how I loved it . . . its every cry ... its bewildered look. Then Dad came home and stormed terribly. But Maude and the babj' remained. It was Maude who told me of the sweetness of life. And at last I understood. As the days passed I learnt more of the yacht-owner, whose name proved to be Philip Blake. His yacht, the Driftwood, carried him about the world because he had grown tired of civilization. “I’ve hated the falseness of it all, Eve,” he told me. “But you’ve changed that. I was really born that day you came out of the sea to me. You’ve trans- formed everything. Wont you love me ?” “But I know nothing of myself,” I said. “Noth- ing of my history. I’m just coming to know life . , . and that’s all.” “The past is nothing,” he protested. “There’s just you and the Driftwood and the many, many days to come.” So when Philip took Maude and the baby back upon his yacht so that they might be removed to: their home, I had promised to become his wife.' Promised ! He told me he would return in a few’ weeks at most. Then there would be marriage: and . . . happiness. The days that followed were dream days. ' I walked over all the spots I had walked with him.i At night I’d watch the^noon and wonder what he was doing. Finally Dad faced me, snarling. “Quit your moonin’, child. Do you think that millionaire will marry you, eh? He aint wantin’ to wed you, girl. You’ve a black soul like your mother. No good can come from you.” “I dont believe it. Dad,” I protested. “Your mother was my younger sister,” Dad almost shouted. “Little did I think of the dis- honor she’d bring down upon* my head. But she fell in love with a young scoundrel named Luke Allen. A sailor with the -fishing fleet, he was. I hated him from the first. I ordered him to keep away from Faith. Then Luke’s boat was lost, and for weeks Faith went around in a mad daze, weepin’ and carryin’ on. “I hoped he was dead and, sure enough, they found what was left of him lashed to a piece of wreckage days later. Faith went almost frantic, and that night told me she had planned to marry Luke that cornin’ month. That there was a baby cornin’. It crushed my heart. I aint never been the same since. “So I took Faith and got the job of keeper here on ’Ception. The baby — you — came. I’d have endured that, too, but Faith kept claimin' right to my face that you was the evidence of her true love with Luke. That there was nothin’ to be ashamed of in you. “Right then and there I told her that you, being the result of sin, would be kept away from the world. Faith tried to take you away from me; said she was going into The days that followed the world to make her were dream days, At wav” night I’d watch the moon /' . , and wonder what he was . in tears.^ Dad S doing distorted face frightened (Forty-four) CLASSIC me, but I felt I had a right to know. “What became of imother?” I asked. I “She enraged me,” he went on. “‘Faith,’ says I to her, ifGod has given me Eve to keep from a life of sin, and I’m ■§:oin’ to keep her from it. I dont intend to have my soul damned for bein’ lax.’ But the devil possessed Faith, and Ijthat night . . . she . . . jumped from the east window up- stairs ... a storm was beatin’ like a hurricane against ’Cep- I tion. She hit on the rocks and was washed away. That’s liyour sinful history, child.” ji Twas heartbroken. “Poor mother,” I sobbed. “So you’re sidin’ with her in her sin, are you?” he ex- claimed, seizing me and pushing me so violently that I fell to the floor. “Well, you was raised here and here you stay. You’re goin’ straight.” i' “You cant keep me from the man I love,” I answered. I “Cant I?” and Dad laughed bitterly. “I’ve already told him your history. Told him just be- fore he went away. He knows you’re a child of sin. You’ll never hear from him again. He’s done with you.” I dont know how I reached ny room. I was dead at heart. W'ould I, too, climb out that cast window up there into the [storm . . . and forget? Days Ijpassed. Shall I ever forget the phter loneliness of them? The jwretchedness . . . the growing ii'ealization that Philip was not “’CEPTION SHOALS” Adapted by Albert Capellani and June Mathis, from the drama by H. Austin Adams. Produced in seven parts by Metro. Directed by Albert Capellani, under the super- vision of Maxwell Karger, director-general. The cast: Eve Mme. Nazimova Faith..’. Mme. Nazimova Philip Blake Charles Bryant Job Coffin Henry Harmon Maude Standish Nancy Palmer Brad Standish George W. Davis Luke Allen T. Morse Koupal Jim Smoot Tom Blake writing . , . was not thinking of me ‘‘Pvc already told hiir . . . was not coming back . . . your history. Told T?- 11 i.1 • 1 i. r . 1 !• him before he went Finally came the night of the big a^ay. He knows storm. Dad had been growing steadily you’re a child of sin. feebler in the weeks that had passed, and You’ll never hear he told me to tend the lights up above again. He s until morning. He even locked me m the place, alone, with the shrieking wind, the blinding, beating rain, the lashing thunder of the sea. Then it was I debated if life was worth while — to go on and on without the one you loved, into the hopeless, loveless years. I almost opened a storm-beaten w’indow. The ledge seemed so narrow, the black outside so cool, the end so quick. But I couldn’t. The rocks down below were so cruel, the sea so relentless. All these hours I little knew what was going on below me, in the room beneath. Unknown to me, the Driftwood had slipped behind the shelter of ’Ception to weather the storm, and Philip had managed to land in a small launch. Then it was that Dad gave him back the letters he had writ- ten in the past weeks . . . the letters I had never known of. And he told Philip that I was dead ... as my mother had died ... on those rocks beaten by the sea. And Philip, broken-hearted, had made . his way thru the (Forty-five) MOTION PICTURE CLASSIC Storm back to the Driftwood. Little did I know of this until later, for, thru it all, I guarded the light on the top of ’Ception . . . the very light that had enabled Philip to land, the light that now flashed thru the storm to the Driftwood, rocking in the heavy seas. Towards morning the storm abated and I fell asleep. When I awoke the sun was shining, the sea was rolling placidly, the storm of the night before was a mere memory. I walked along the sands, when suddenly the lighthouse tender, Smoot, appeared. Smoot, as I knew, was now first mate of the Driftwood. I started, of course, at the sight of him and looked to sea. There, at anchor, was Philip’s yacht. “Philip has come back !’’ I exclaimed. “Blake is dead,” said Smoot, abruptly. “Died at sea. But he left this letter for you.” With that he handed me a note. There was just one word, “Eve,” on the envelope. It was unmistakably Philip’s writing. And, thru my tears, I read' the enclosure : “Dearest — I cannot face things as they are. The wretch- edness of life ! I was just coming to realize the beauty of it all. The world is empty without you, Eve . . . Never can I take you in my arms again. There’s just one thing — death. “Philip.” “He’s gone,” continued Smoot. “Might just as well forget him, girlie. What about me?” I turned abruptly to go to the lighthouse, half- blinded with my tears. ’Twas then Smoot seized me. That maddened my whole being. I fought like an animal, beating and scratching his leering face. Suddenly, out of the madness of it all, I heard a voice — Philip’s ! Smoot staggered back and ran down the beach . . . There were just Philip and I . . . alone “You’ve come back-- •' ^ knowing all about me?” I made myself at last . . . close to the edge of the ocean. ask Shall I ever forget the bitter loneliness . . . the wretchedness . . . the growing realization that Philip was not writing . . . was not thinking of me . . . was not coming back? ‘They said you were dead,” I whispered, afraid to touch him and find myself dreaming. “You, too ; he told me you were dead,” he said. ‘Dont you understand, Philip ?” I said. “They’ve tried to keep us apart, but God wouldn’t have it so. There is right . . . and beauty . . . and love in the world after all.” “This morning it was all empty and dreary,” smiled Philip. “As lonely as before you came out of the sea that morning. Now you’re with me and the sun is shining again. Eve.” “You’ve come back — knowing all about me?” I made myself ask. “As if the dead past mattered. Eve,” an- swered Philip. “There’s just you and me. That’s all that counts.” “But that letter?” I asked. “I wrote that think- ing you were dead. I was going to cast it into the sea ... a {Continued on page 67) (Forty-six) The Extra Girl Becomes a News paper Reporter By ETHEL ROSEMON “ A ND SO they were arrested and sum- moned to court, and behold ! I was there.” How would you like to weave a won- derful dream of stardom, your picture in The Classic's Gallery, ermine furs, a limousine, a million dollars’ worth of Liberty Bonds and — and wake up to read that handwriting on the wall ? But then when you have a ‘‘for sale in every part of the country on the same day” sharing your struggle each month, you can afford to relinquish all these things with a good imitation of grace. Think of the hundreds of extras who must go ffMMMlilMfr'illlBIMWBPlilll'l - home each night and confide their hopes deferred to the family cat ! Ever since Miss Wriggles was a pup I have been hunting for the sesame to the door of Metro’s Sixty-first Street studio. I shud- der to think of the years of strug- gling that might still be stretching before me if Director Harry Franklin had not shown wisdom in the choice of his assistant, Fred Warren. It .was his discerning eye that selected me to support a court- room bench in Emmy Wehlen’s starring vehicle, ‘‘.Sylvia on a Spree.” Now as an easy-chair a court- room bench has many defects that unfit it for active service. I knew it — so did the other extras, for when the call, ‘‘On the set !” re- sounded thru the hall, each demon- strated his idea of Soft wood by scrambling into the most likely looking seat. A few minutes later Mr. Frank- lin appeared on the scene. It was . {Continued on page 78) Above, Emmy Weh- len and her director, Harry Franklin. At the left is the raid scene from “Sylvia on a Spree,” and below is the courtroom interlude, with Miss Rosemon as a reporter. ( Forty-seven) • Faire Binney of- fers a strong bit in the Civil War episode of Maur- ice Tourneur’s “Woman” The photoplay is taking a “much needed vacation.” Just at this moment the motion picture industry is passing thru the most remarkable period in its history. For the first time since the days of “The Great Train Robbery” studios are closed, actors are idle, the vk^hole screen world is at a standstill. The producers have declared a five weeks’ cessation of activities. The wave of Spanish influenza closed a large percentage of the country’s screen theaters, so the manufacturers — finding their market dwindling away — decided to close up shop until the germs moved on. We might attempt to be humorous and remark that, if some one could have abolished tooth- picks, masked turnips, mime- ographed movie press sto- ries and war scenarios, our five weeks would have been perfect. It isn’t, of course, within the scope of this depart- ment to comment upon the shut-down. Altho* it cant be entirely disregarded. But we do hope the producers are spending the five weeks reading scenarios. To return to the screen : Charlie Chaplin came to town in “Shoulder Arms,” which, to us, is the one screen classic of the war. In fact, after watching Chapliti as a khaki hero, we can never take Norma Talmadgc isn’t in the least inspired in “The Forbidden City.” The old vividness is missing The Celluloid Critic another war 'drama seriously. Memories of Charlie drilling with the awkward squad, his well known feet the despair of a nerve-racked drill sergeant; of his combat with cooties; of Chaplin slumbering to sleep in a hut filled with mud and water; of But why spoil the joy of fans by telling the humorous twists of “Shoulder Arms”? Let it suffice to say that Charlie captures William Hohenzollern, the crown prince and Von Hindenbiirg with neatness and despatch. And if there’s any funnier scene than the episode where Chaplin camouflages himself as a tree and is pursued by a fat and worried Hun thru a forest, we would like to see it. There isn’t a single dull second in “Shoulder Arms,” which shows in many ways just why Chaplin maintains his amazing grip upon the affections of fans. First, the come- dian takes months to make three reels of comedy, developing his fun carefully, discarding here and building up there. He doesn’t rush his productions out. He whets interest and has the public waiting for him. Secondly, he never duplicates. Every comedy is different, not only as to action, but charac- terization. All this in comment upon his business acu- men. Above all else, Chaplin is a truly great actor. He is human— touching when he wishes to be. His little soldier in “Shoulder Arms” isn’t a mere merry manikin going thru a maze of comedy situations. He is a human figure, sometimes even a pathetic one. Audiences do not merely laugh at him. They love him. Some one has said that Bruce Bairnsfathcr’s cartoon character. Ole Bill, personifies the British Tommy’s spirit in the war. Charlie Chaplin’s little soldier cer- tainly personifies the American view of the struggle. “Shoulder Arms” marks the last appearance of Edna Purviance opposite Chaplin. And his brother, Syd, returns to the films as a bunkie. The single other interesting event of our month was the admirable Maurice Tourneur’s odd episodic produc- tion, “Woman.” Mr. Tourneur, we are quite sure, started out ruthlessly to show the havoc women have wrought thru history, but that he tempered his idea the last moment, by showing the changes the war has created in femininity. Anyway, Mr. Tourneur built “VV’oman” in a prolog, an epilog and five episodes. These five deal with Adam and Eve and the more or less well known apple; the Roman Emperor, Claudius, and his wife, the dissolute Messalina; the affair of the monk, Abelard, and the beauteous Heloise, which must have won a whole page in the magazine section of the medieval American; a fanciful Brittany coast legend of a mermaid and a fisher lad ; and a Civil War episode in which a girl, for the gift of a little watch, gives a poor wretch to a firing squad. The prolog and epilog reveal the evolution of a modern butterfly into a Red Cross nurse. “Woman,” as one might expect of Tourneur, is a thing of rare screen beauty. Once or twice it reaches genuine heights, as in the poetic “Such a Little Pi- charm of the Brittany interlude rate” rather dis- and the quick grip of the story of counted our first 1864. One newspaper commentator impressions truthfully remarked that Tour- of Lila Lee neur had conjured a series of (Forty-eiphi ) FREDERICK JAMES SMITH photographic ballads. Scene after scene of superb photographic beauty, fine balance and splendid light and shade sweep by. “Woman” is a thing of which the screen may well be proud. It is necessarily episodic and halting, but, withal, it is a genuine achievement. One can easily sec that the director did “Woman" because he loved to do it and not because a gentleman at a roll-top desk in Times Square was holding a stop- watch on the production. Tourneur’s cast is a big one. but Flore Revalles’ Messalina and little Faire Binney’s brief but vivid Cfvil War girl stand out. Probably because we saw “The Woman the German Shot” (Plunkett- Carroll Productions) directly after observing “Shoulder Arms,” the former didn’t seriously sink into our interest. To us it was a mere adequately told recital of the now historic Edith Cavcll tragedy and, like all historic recitals, lacks interest because the conclusion is known from the start. There is nothing especially inspired anywhere about "The Woman the German Shot,” altho the acting of Julia Arthur as the martyred British nurse and the direction of John G. Adolfi are a shade above the average. J. Stuart Blackton has presented the first of his new series of productions, “Safe for Democracy,” a story by Anthony Paul Kelly, based on the “work or fight” war ruling. Here we find how the weakling son of a mil- lionaire,- who weds a stenographer in a vain effort to escape the draft, and a hobo are regenerated by being forced to work for the first time. Few of the nuances of the development are shown. The tramp abruptly drops his “dese” and “dose,” immediately acquiring good English along with a desire for work, while the rich waster suddenly develops a fondness for shovel- ing dirt in a shipyard and for his young bride. In a word, “Safe for Democracy” is rather obvious. The direction is conventional, not going beneath the surface, Mr. Blackton has, however, almost made Ruby de Remer act, while Mitchell Lewis is excellent as the rejuvenated hobo. To our way' of thinking, Helen Ferguson stands out as the sister. Neither did “Lafayette, We Come” (Perret Pro- ductions) interest us. Leonce Perret, the French director, has endeavored to develop a spectacle around America’s entrance into the war, making the love of a young American for a beautiful Frenchwoman the basis. The American enlists after coming to believe that his sweetheart is a spy. Later, after becoming blinded in battle, he finds that the spy and his sweet- heart are distinct personages, altho they look exactly alike. Of course, he recovers his eyesight and his sweetheart. Perret is given to dramatic tableaux, which is typically French in method^ while “Lafayette, We Come” is choppy and blurry in its handling of the story. Like all the other war productions, “Lafayette, M'e Come” makes liberal use of the news weekly pres- entations of parades and battle scenes. Mr. Pathe is certainly helping out a lot of directors this year. E. K. Lincoln and Dolores Cassinelli are satisfactory in the leading roles. “When Do We Eat?” (Para- mount) is the title of Enid Ben- nett’s story of a barnstorming actress who is stranded in “the sticks.” The thing runs thru a “Salome,” with Theda Bara, is stupid. It moves turgidly and te- diously Chester Barnett series of preposterous incidents until the and Gloria Good- actress discovers that two crooks are about to win in the Brittany rob the village bank. She foils them and aids seacoast interlude the bank clerk, who loves her, into becoming a of “Woman” hero. Everything happens utterly without reason in “When Do We Eat?” The direction is amazingly bad, with burlesque villagers, Key- stone sheriffs, and so on. This would have been a good picture for the producers to have forgotten about during the influenza shut-down. “When Do We Eat?” is just plain stupid. But if “When Do We Eat?” is stupid, “Salome” (Fox) is worse, because it is nearly three times as long. The story of the famous Biblical wanton should have provided a vivid screen pano- rama, but Theda Bara’s “Salome” is uninter- estingly inadequate. J. Gordon Ed- wards’ direction is on a par with the Bara per- formance. Just once— -with all his expen- diture of money upon vast sets, waving armed supers, and so on — does he achieve anything like beauty of scene. That occurs when Salome comes to the grated well in which John is a prisoner. “Salome” moves turgid- ly and tediously. The cast is weak, with the ex- ception of Albert Roscoe, who gives a performance of John which, if imma- ture, is at least earnest. The Bara characterization is a below-stairs concep- tion of Salome. {Continued on page 77) Charlie Chaplin’s “Shoul- der Arms” is the one screen classic of the wav ( F (Mfl i/ iiine ) Wilda Bennett, a charming figure in the New Amster- dam musical hit, “The Girl Behind the Gun” H. B. Warner and the delicious Irene Bordoni in the piquant Boulevard farce, “Sleeping Partners,” at the Bijou Theater- Frank Bacon gives a near- Jeffersonian characteriza- tion in “Lightnin’,” the Gaiety Theater success The Holiday; in the Theater (Fifty) Above, A scene from John Williams’ admirable pro- duction of Oscar Wilde’s “An Ideal Husband”; right, A glimpse of John Barry- more’s tremendous por- trayal of Fedya in Tolstoi’s “Redemption” at the Plym- outh Theater; and, below, Jane Cowl and Orme Cal- dara in the delightful comedy, “Information, < Fifty -ove) The Poor Little Rich Star Tragedy Has Come to Little Viola D: always knew it!” Husbands, ’sposin’ you had wives who considered you “ab-so-lu-tely per-fect?” . . . ’Sposin’??? I dont know whether the Dana eyes, specifically, are famous or no. If they are not, they should be. They are her facial chef d’ oeuvre — being extraordi- narily large, extraordinarily brilliant and likewise of an extraordinary topaz-green. Also, they are in frequent and most telling use. “I dont know,” the diminutive Dana bewailed, ‘why a double tragedy should happen to so small a person as me! Just imagine — I’m losing my hus- band, which, goodness knows, is plenty bad enough — and my director at one and the same time. I’m trying to be awf’ly brave about it, but it’s har-rd I” It was hard, even then; it is still harder for the tiny star now, but there was a spunkiness about her, a dauntlessness in spite of her fairy-like stature. She had about her the atmosphere of one who will not be downed, will not be felled, no matter what the ter- ‘•T^o sleep, to dream, and then to die,” some time, some one has Two photographs the Viola of 1919 are presented on this page, while, in the center, is a study of Miss Dana making up for the stage play, “The Poor Little Rich Girl,” in which she scored a hit felt that and said it. It is sad, but so is it sweet. To love, to work, and then to die . . . this has not been said heretofore, but it is being done all thruout these days, when we are here today and gone tomorrow — and if it is still sadder, so, by the same token, is it far sweeter — so very sad, so very, very sweet that all of life must be per- fumed because of it . . . perfume that brings tears . . . but tears that bring healing . . . and we who believe in the marvelous resilience of youth, if we are still to believe in anything, must believe that the perfume of her Beautiful Memory will bring healing to little Viola Dana. And it TXfill be a beautiful memory . . . beautiful enough to vanquish pain. For when it was not a memory, but a vital and blessed fact, it shone out of her luminous eyes like stars and quivered in her jubilant young voice and radiated from her whole personality. It was her Topic Extraordinary. I, who was there for the sole purpose of having her ample autobiograph, who was bestowing upon her what most Every- woman would have considered the golden opportunity of talk- ing for two hours straight about Herself, heard instead that the beloved John was in the draft, that he was a perfect speci- men, according to his draft board, and that he was the only one in sixty-two who was. Adroitly, as I thought, vainly, as I soon discovered, I steered the frail conversational barque to her achievements, past, present and anticipatoiy, to the stage- versus-the-screen (an ever lucrative beginning), to Sister Shirley Mason, to prefer- ences, to fads and foibles, to East and West, and ever and anon we came back to — ‘‘out of sixty-two other men, just think, ab-so-lu-tely per-fect!” As an addenda she said, with a snappy little snap of her big, big eyes, ‘‘of course ... I ror, what the blow. Some- times it does seem as if a blow has the faculty of fall- i n g in the wrong place, and yet, we who are here, not knowing Why nor Whither, dare not say believing And still— (Fifty -two) By FAITH SERVICE lunched together, every day; he was her director as well as her hubby and her pal In every line, in every way, their interests communed, in play which was work and in work which was play. And now . , . pretty big “bit” for a very small person . . . “What a remarkable dressing-room,” I said, at random. At random is correct. I wondered whether the Dana was responsible for the colorful medley in which I found myself. The ceiling being a du Barry pink, the floors an azurean blue and the drapes a decadent purple. “Awful, isn’t it?” laughed Viola, returning from Over There with a palpable effort, “the du Barry was Emmy i Weh'len’s, the blue Miss Bar- i rymore’s and the drapes were ' Nazimova’s. My manager ; thought I would like them, and had them ' hung here. “Fm glad it — or they — are not your tem- perament,” I murmured. Upper right — A re- cent study of Miss Dana. Center — Shir- ley Mason as Little Meenic and Viola as Little Heinrich in “Rip Van Winkle,” with Joseph Jefferson Left, Miss Dana, in the good old Edison days. What photoplay was this? “The Portrait in the Attic,” with Viola as Thelma “But I have one,” hastily averred the star— -for, no doubt, reasons she, let X equal star sans temperament. “i’ll prove it to you,” she went on, and forthwith pro- duced for the confirmation of her claim an auburn wig a la the Mary P i c k f o r d. curls. This she dangled 'tri- umphantly and rather Blue- beardishly before me. “For my new picture, ‘Diana Ardway,’ ” she announced. “Diana has red, red hair, and she is supposed to be sort of an ingenue vamp. ‘John,’ I said, ‘if I must be the naughty-but-nice child, Diana, I must have red, r-r-red hairT ‘Nonsense, Vi,’ said John; 'your own hair will do nicely.’ ‘I must have the r-r-red hair, John,’ I insisted, stamping my foot and being very, ver-y temperamentalish, and I rolled my eyes, and I pouted, and — well ...” She dangled the wig, triumphant- like, again. ‘‘I got it !” she beamed. She was very proud, too, because she said John thinks she has common-sense. “Most people dont,” she naively informed me, “my family, and . . . you know ... I suppose it’s my size,” she added. “But John does. When I go to California this winter I am to buy a house all by myself. And furnish it. And live in it. Here we just live in hotels, but we want a really, truly home, and we want it in California. I feel so big about it, tho, and sort of real-estatish and important. To think he trusts me with buying a house!” I racked my brains, as I racked hers, to hit upon a topic that had not to do, firstly with John’s height and breadth and subsequently with his expedition under Mars. I achieved the vague glimmer of a few sidelights , . . such as shoppings being her sole — or almost her sole— occupation and recrea- tion—and hats the soul of that. Also that she helped small Shirley Mason to elope— was nearly taken for the bride ip the excitement and married over again, the while Shirley was cowering tearfully in a corner. That, as she has not been working the past three weeks, she and John, Shirley and her Bernie have just been “staying out and having a good time.” She is dreadfully afraid of growing old. “It must be.” she whispered, wide-eyed, “the worst tragedy in all the world. I’m so a-fraid of it ! I go to bed early every night and take such good care of myself. I’m twenty-one — but I dont tell everybody that.” (Neither do I!) {Continued on page 67) (Fifty-three) Before and After Taking “■^rou see, Miss Gish, the magazine editor wants us to tell Y him what you and your sister do when you are not working.” Thus spoke the hireling in the press depart- ment to the “Little Disturber.” “That’s easy for you,” said Miss Dorothy, “just tell him we go to bed and try to rest up for the next day.” “But he wouldn’t believe that; he’d think we were giving him press stuff. You know the public thinks you only work about one day a month.” “Well, I love that. I work just as hard as any other girl who makes her own living, and when Saturday noon comes around I’m right there at the window for my little pay checki And I dont get time and a half for overtime, either.” “But dont you do something at home— cooking, or feeding the chickens, or something like that?” “Not for a minute. I’ve all I want to do without try- ing to cook. Besides that. I’m a poor cook. We have a hired girl, or I mean a maid, who does the cooking, and we' cant keep chickens. Come again.” “But you know how to do those things, don’t you ?” “You just bet I do. I’ve done them.” “Well, that’s good enough. We’ll write the story and take some pictures and send ’em out anyway, and show the people who dont believe you do anything that you are pretty busy.” “But how’ll you get the pic- tures ?” “Like all the rest of ’em get the pictures. You’ll put on the dust- cap and apron and do some housework. If the maid gets mad about it we’ll tell her it’s for publicity, and Here’s a little expose of how those nice do- mestic scenes of stars in their homes are created. Would you believe that these pic- tures were faked? We-e-e-1-1 I (Fifty-four), “What do I cook?” asked the girls. “Potatoes and roast beef, something to make you work harder.” And so we have a perfectly good photograph of Lillian basting the roast (all reports to the contrary, she knows how to baste them, too), and Dorothy peeling the pota- toes. The maid had already peeled enough for dinner, so Dorothy decided that she’d Hooverize and just scrape the skin off the one she is holding. But here is proof positive that the Sisters Gish, who dwell within the star deeps, are earthly human beings who know the kitchen mechanism just like other girls. “Is that enough?” they asked, when the camera-man had said “still” for the last time. “For a start. What else do you have for dinner?” “Why,” said Dorothy, “I don’t know what we’ll have. That’s up to mother and the girl.” “Let’s look in the ice-box,” said Lillian. And the camera-man caught ’em again in a pose that looks just as if they were going to do the cooking them- selves. “Where do we go from here?” asks Dorothy. “I’ve only ten more minutes,’’ remarks Lillian. The afternoon was progressing wonderfully. It was time to take Dorothy doing some sweeping. Lillian said, “I must go now. Is the car outside?” It was not outside. Lillian sat down on the step and {Continued on page 79) she knows that’s the last word.” So we went out to the Gishes and telephoned for the pho- tographer-man, who is sur- prisingly on the job every time any one is doing something that would look well in print. The day was Sunday. “The Hope Chest” had been finished the afternoon before. Miss Lillian dijjin’t have to go to work until 2.30, so everything started off right. “First we’ll take you cooking,” said the P. A. By E. M. ROBBINS (Fifty-five) The Parisian Wife This Story Was . Fictionized from the Paramount Photoplay of Eve Unsell By DOROTHY DONNELL The Wesley Place stood starkly on the wind-bitten hilltop, gazing disapprovingly out on the world beneath thru low- ered shutters, like half-closed eyelids, its rigid porch col- umns showing a chill white in the brassy sunlight of the March afternoon. On the north a windbreak of dark fir-trees kept up a continuous sighing monotone which had never ceased from the moment the first Wesley planted them beside his homestead two hundred years ago. Since then eight generations of Wesleys had lived their orthodox, colorless lives here, loved their pale loves. Out of these dark portals their coffins had been carried at last to the tiny family cemetery on the hillside, where their dust need not mingle with any less dignified. In all that time the breath of scandal had never touched their rooftree — until now. In the gray light of the shrouded parlor the members of the family, hastily summoned to conference, gazed at each other obliquely, not quite meeting one another’s eyes. “I suppose.” Lincoln Wesley, the lawyer, polished his eye- glasses delicately with his silk handkerchief, ‘‘Martin did not — hm — enter into any description of the — hm — party of- the second part ?” His sister, Ellen, snilifed as she took the letter from her mother's finger's, ‘‘Listen to this,” she laughed, unpleasantly. *' ‘She has hair that is what vii'gin gold would be if gold were alive — heavy — clingy — and her skin is a wonderful warm ivory. Her figure ” Ellen folded the paper jerkily, an «.i‘igry I'ed flecking her sharp cheekbones. ‘‘If my advice had been taken, Martin would never have gone to Paris. It’s what was to be expected, that’s all.” Old Thompson Wesley, Martin’s grandfather, unlocked his di'y, purple lips with a senile cackle. "A dancing woman — a THE P.^RISIAN WIFE Scenario written by Eve Unsell. Produced by Para- mount. Directed by Emile Cliautard. The cast ; Fauvette Elsie Fergu.son Martin W'esley David Powell Tony Ray Courtenay Foote Thompson Wesley Frank Losee Mrs. Wesley Cora Williams painted daughter of Babylon,” he mumbled, ‘‘whose lips are as the ante-chamber of hell.” His wife, Myra, drew the lavender knit shawl closer about her bloodless shoulders with a nervous glance at the clock ‘‘They’ll be here in less than an hour,’’ she fretted. ‘‘What- et er will people say when they hear a Wesley has brought a wife home from Paris? And her name, too — scandalous! What respectable woman ever had a name like Fauvette?” In Ellen's pale-blue eyes gleamed the unforgiving malice of an old, unlovely woman for a young, beautiful one. ‘‘She shall regret what she has done,” she said implacably. ‘‘We must oi)en poor Martin’s eyes. Mark my words, there are things in her past that he does not know.’’ It was into this atmosphere of frigid suspicion and disap- probation that Martin Wesley’s Parisian bride stepped, when,' an hour later, the station hack deposited them at the painted iron gate. A sullen sunset smoul-i dered thru the crannies of the fir barrier and, altho the even-i ing was windless, the continuous low plaint rose from their branches. The shadow of the house lay sharp and distinct at her feet. Martin, turning from paying the hackman, saw that her gray eyes were upon it with a look of fear and dread. “See,” she told him, in her careful English, “the shadow — if we step into it, what of our happiness?” He frowned away her fancy. "Dont be silly, Fauvette.” His voice grew tender on the name and, suddenly catching her to him, he “She has hair that is kist her with a sort of fierce awk- 'what virgin gold would wardness and swept her up the path and across the threshold of his an- “■* cestors. skin is a wonderful warm ivorv, (Fifty-six) “He shall not see me cry, jamais, jamais; he married a laughing wife and those gray, cruel ones down there shall not rob him of me” 'i “Mother — Aunt Ellen,” he faced the three silent figures in the dim parlor, defi- antly,“this is my wife — this is Fauvette.” !; The Wesleys saw a girl, incredibly (lovely — the women of their family had jnot' been noted for their beauty — a golden creature of glowing tints and young, warm curves; they saw, too, the ifashionable clothes, the audacious tilt of ;lier hat, which to their provincial eyes spelled nothing less than actual deviltry, and their eyes grew chill and hard as jisteel. “I expect you’re going to find South Quarries considerably different front vhat you’re accustomed to.” Ellen prof- fered a limp hand. “Martin’ll show you jap to your room and you can lay your ithings off. We always have supper at jseven.” I And this was the bride’s welcome to per new home. Groping up the steep, narrow stairs by the flickering light of ■the oil lamp in her husband’s hand, Fau- yette pressed her eyes fiercely shut to Keep back the hot, sudden tears. Daugh- :er of an ardent race, sensitive to all the nuances of grief and joy, she had now jihe blank sensation of having had a door slammed in her face. I The guest-room was high-ceilinged, ' yith chocolate wall-paper and black wal- |iut furniture. Over Fauvette’s soul yashed a great wave of homesickness, I jriny with the bitter tang of tears. Then she looked at her husband, uncon- cernedly combing his hair in thick, wet : spirals before the mirror, and her chin livent up gallantly. f “He shall not see me cry, jamais, vjaniais!” she promised herself ; “he mar- Ijried a laughing wife, and those gray, rcruel ones down there shall not rob him of me.” ' ( Fifty-seven) In the agonizing weeks that fol- lowed she tried piteous, futile little wiles to win the Wesleys to her, but it was like a butterfly dashing fragile wings against a granite wall. Ellen and her mother ignored her as much as was consi-stent with their theories of good breeding, and treated her be- fore Martin with a frigid politeness, cruel as only women — and good women — know how to be. The senile old father leered at her with rheumy, knowing eyes and babbled Scriptural quotations about “scarlet women.” In church and on the street the vil- lage peered at her with prying, greedy glances and evil whisperings. When Martin first heard the whis- pers he strode up the hill and across the threshold of the gaunt, white house and locked himself into the stuffy study, where Ellen heard his restless pacing and smiled trium- phantly. Later she rapped and was admitted, to find him sullen-browed and blustering. “Do you know what those evil- minded old cats are saying about my wife — about a Wesley?” Even in his anger the ruling passion of family worship was stronger than anything else. Ellen spoke smoothly. “After all, can you blame them for wondering, Martin ? A foreigner — and after such a short ac- quaintance ! Of course, you know all about her, but to those of us who dont — well, you must admit it is not strange we — speculate.” A moment later the low doorway framed a vision so incon- gruous, so bewilder- ing, that the dark, distinguished man sprang to his feet, with the tribute of an involuntary ex- clamation MOTION PICTURE CLASSI Martin stared at her, startled. “Of course I know Faiivette did not — could not But his voice lacked conviction, and Ellen knew that she had guessed rightly. Martin had never questioned or wondered about his French wife’s past until now. The seed was planted. She watered it skillfully. “Of course, the French have such different moral stand- ards !’’ she would say, blandly, or to Fauvette, “Such a pretty woman as you, my dear, must have had many admirers. Odd you should have — waited for Martin!” It was with a sense of absolute terror that Fauvette caught her husband’s eyes fixed on her one day with an expression of dark speculation. She set herself to fight his suspicion with the only weapons she knew, the ardent and innocent coquetries of her race, an eager response to his infrequent caresses, never guessing that they only served to feed the smouldering fires of his distrust. Then, unexpectedly, a time came when her overtaxed patience snapped. Breathless with nervous hurrying, she had slipped into her place at the breakfast-table, dreading the silent glance at the clock and tightening of Ellen’s thin lips that always reproached any tardiness. That they had been discuss- ing her she knew instinctively even before Martin addressed her, tapping the opened letter in his hand impres- sively. “Fauvette, my friend, Tony Ray, the novelist, is coming to spend the summer with us,” he began, patronizingly, as one would speak to a very small child. “He is conservative and con- ventional, a member of one of the best families of Boston. We think it best to caution you in regard to your behavior while he is here.” Fauvette’s eyes flashed un- der discreetly lowered lashes. “I understand, yes !” she smiled, dangerously sweet, into their stony faces. “You are afraid I flirt, yes? This Saint Tony must not be tempted. Very well. I will wear a black gown to dinner ! I will fold my hands, I'oila!” The family and their guest were gathered in the chill deco- rum of the parlor that evening when the click of small heeF open admiration of the stranger’s frank blue gaze, the cold! incredulous anger of her husband’s f.ace, and the mischievou impulse of self-assertion vani.shed, leaving her hot-cheekei with shame and misery. As soon as jKjssible after the dread fill dinner had dragged to a close she slijqied away to her owi room, where, a moment later, Martin followed her, his hand some, rather heavy features snarled with rage. “I have been a Iilind fool !” he told her, thru white lips “But when you came down tonight in that shameless gowi I knew that T had married a wanton! God: ” With ; convulsive movement he tore at the velvet rose, stabbing hi; finger with its pin and leaving a red smear on her white breast was heard on the stairs, and a moment later the low doorway framed a vision so incongruous, so bewildering that the dark, distinguished man talking to Ellen sprang to his feet with the tribute of an involuntary exclamation. Simple as the black tulle gown was, it spoke in every subtly revealing line of the boulevards of Paris, the city that wor- ships beauty in women and gallantry in men. Above the amazingly low-cut hodice Fauvette’s white shoulders and neck rose in all their naked wonder, her hair was piled in sophisti- cated waves above her daringly rouged, defiantly gay little face, and upon the swelling curves of her breast glowed a great crim.son velvet rose. In one swift glance she saw the horror of the women, the ihe cried out with a pain more than It was Tony who ex hysical, as tho his words had stabbed 3 the quick of her soul. Martin’s letter Tony Ray, noting Martin’s black ij 3ok and torn finger, the girl’s hurt cry still ringing in the ear|i if his memory, nodded wisely to him.self. “Ariel and Gala an.” he mused. “Martin is a good fellow, but narrow air tubborn, of the earth, earthy, while she ” His long, sen itive fingers blundered in their task of- lighting his cigai ^bove the cynicism of his lips the man’s tired eyes were wist ul. “I knew her when I first saw her. She is my dream tha lever came true !” {Continued on page 73) (Fifty-eight) I :( Ij .1 i I i 3 I When von cut the cuticle you leave little unprotected places all around the delicate nail root, which become sore, rough and ragged "I don't see how_ 1 ever tolerated having my cuticle cut. Cutex is so easy to use, so quick and makes my nails look so much better” e wrong and the right to manicure way CUTTING the cuticle is ruinous! When you cut the cuticle, you leave little unprotected places all around the tender nail root. These become rough, sore and ragged ; they grow unevenly and ctLUse hangnails. The right way to manicure is to soften and remove surplus cuticle without knife or scissors. Just apply a bit of Cutex, the harmless cuticle remover, to the base of your nails, gently pushing back the cuticle. Cutex does away with all need for cutting or trimming, and leaves a firm, smooth, even line at the base of vour nails. underneath the nails. Finish your manicure with Cutex Cake Polish. In cold weather the cuticle often shows a tendency to become dry and rough after the hands have been put into water. When this happens, ap- ply a little Cutex Cuticle Comfort to the base of the nails. Keep your nails looking well. Once or twice each week manicure your nails this way and you will never be bothered with overgrown, ragged cuticle. Cutex, the Cuticle Remover, comes in 35c, 6Sc and $1.25 bottles. Cutex Nail White is 35c. Cutex Nail Polish in cake, paste, powder, liquid or stick form is 35c, and Cutex Cuticle Comfort is 35c. Soften and remove surplus cuticle without knife or sets- ors. Sec ivhat a firm, smooth, even edge Cutex gives your cuticle without cutting '7 have found Cutex the quickest and most effective zcay of tak- ing care of my noils” A complete manicure set for 1 cents. Send for it today! MAIL THIS COUPON WITH 21c TODAY In five minutes the most delightful manicure you ever had Wrap a little cotton around the end of an orange stick (these come in the Cutex package), dip it into the Cutex bottle and work around the base of the nail, gently pressing back the cuticle. Rinse the fingers carefully in clear water, pushing the cuticle back when drying the hands. If you like snowy-white nail tips, apply a little Cutex Nail White A complete manicure set for only 21c Mail the coupon today with 21c for the complete manicure set shbwn below. It contains trial sizes of the Cutex prepara- tions, together with emery board, orange stick and absorbent cotton — enough for sev- eral manicures. Send for it today. Ad- dress Northam Warren, Dept. 901, 114 West 17th Street, New York City. If you live in Cana- da send 21 cents to MacLean , Benn & Nelson, Limited, Dept. Qor, 48Q St. Paul St. If'est, ^ Montreal, for your sample set and get Canadian prices \ NORTHAM WARREN ! Dept, 90l ! 114 West 17th St., New York City \ Nam'e .State Street (Fifty-nine) Gossip of the Pacific ' Coast By FRITZI REMONT Los Angeles, Cal. (Sp'ccial) . — Natural- ly the thing upper- most in the minds of the studio colony is the en- forced lay-off on account of the influenza epidemic. While not so severe as in the Eastern States, all neces.sary precautions ; have been taken. Those who started pictures will be allowed to finish them before taking the four- weeks’ vacation without pay. Many companies which finished a feature . took the vacation imme- diately. By general agreement between the i film companies, every one | is forced to participate in I this lay-off. J Nevertheless, we have ' had the sad issues to face j here and there. Myrtle Gonzalez, who had been i in ill health for a year, 1 necessitating the resigna- ; tion of her husband from the army, passed on after a few days’ illness of in- fluenza. The Gish girls have been enjoying home life since the closing order came. Lillian finished her propaganda picture with Mr. Griffith. I saw her at the First National Bank, wearing an outfit that just suits her gold- ; and-white beauty. There was a white pleated skirt, j a luscious belted black j velvet coat, white Georg- ette blouse, and a huge black velvet hat simply trimmed with black vel- vet streamers that flut- tered over her shoulders. With white boots and i gloves, she was an im- maculate-looking little maid. Juanita Hansen has had jj {Continued on page 79) Will Santa Claus overlook Myrtle Lynn, Mack Sennet- tcr? No, Rollo, even Mr. Claus will not overlook this © Stagg. Los Angeles (Sixty) May Allison * Beware of a Dark Man With a Bundle** ** Social Hypocrites** Metro Play MUlCw^ed CtSam You will find Ingram’s Milkweed Cream cleans- ing, softening, and soothing to the skin. To these three essential qualities it adds a fourth that is exclusively its own. And that is its therapeutic property. It tones up the skin and keeps it in a healthful condition. Herein is the superiority of Ingram’s Milk- weed Cream over the many so-called “face-creams.” Its daily use will clear away imperfections, banish blem- ishes, prevent roughness and redness from wind and weather, and give a soft, smooth colorfulness to the complexion. Start today. Ask your druggist for a jar. Cfyrre : Brauty I fvfe»r>' Jar Buy It in Either 50c or $1.00 Size B^gtSatTs "Just to show a proper glow” use a touch of Ingram's Rouge on the cheeks. A safe preparation for delicately heightening the natural color. The coloring matter is not absorbed by the skin. Deli- cately perfumed. Solid cake. Three shades — Light, Medium and Dark — SOc. New York City, N. Y., Dec. to, igiy, F. F. INGR.4M CO.: "Necessarily the strictest care of one’s complexion must be exercised in photoplay work. Ingram’s Milkweed Cream has proved that it does keep my skin in a perfectly healthy condi- tion all the time. I usually employ its aid twice a day for its health-giving effect upon the skin texture. vcoia •Si ouvcramc FACE POWDER A complexion powder espe- cially distinguished by the fact that it »tay» on. Furthermore a powder of unexcelled deli- cacy of texture and refinement of perfume, Four tints — White, Fink, Flesh and Brunette — SOc. Mail Coupon FREDERICK F. INGRAM CO. Ettablithod 188S ^ Windsor, Canada 83 Tenth St., Detroit, Mich., U. S. A.* Australasian Agents. T. W. Cotton, Pty. Ltd., Melbourne, Australia. FREDERICK F. INGRAM CO. 83 Tenth St.-, Detroit, Mich. I enclose a dime in return for which please send me your Guest Room Package containing Ingram’s Face Powder and Rouge in novel purse packets and Milk- weed Cream, Zodenta Tooth Powder, and Ingram’s Perfume in Guest Room sizes. (128) tk Predicting for 1919 Hfrk are our predictions for the screen drama of 1919: Ingenues with curls w'ill be ]iopular. The sun will continue to revolve in its orbit directly back of the blonde stellar cutie’s left ear, thereby casting a glow u[)on the aforementioned blondeism. Animals will be popular. There will be a strong partiality on the part of directors for canaries and doves. Close-ups of beaded eye-lashes will be made in large quan- tities, thus contributing an intimate, human note to the film drama. Doug Fairbanks will jump over a chair in May, 1919. Bill Hart will play a bad man who reforms about June 9, 1919. One hundred and nineteen scenario writers will get new' positions, Hun spies having lost their vogue with the end of the war. In December, 1919, Mary Pickford wall be undecided be- tween an ofifer of $5,000,000 and one of $6,000,000. i What is a travel scenic, Rollo? A travel scenic is a serie>j of tremendous significant glimpses of the inside of tunnels. ; ' And you ask what is a film masterpiece. Rollo. A master- piece is any photoplay with a full-page advertisement. It becomes a work of sheer genius when it has a two-page adver-' tisement. lij We think Harold Lloyd is a good comedian — and w'e’ll keep right on thinking so while Bebe Daniels plays opposite him. ■ The old Answer Man started something when he launched* , his first department of replies to fan inquiries. The EnglisKf] screen weeklies are taking it up now. Pictures has a query “j page, from which we glean this information : t “Alma, Hackney. — We have not heard that Mary Pick-'.; ford has gone in for goat-keeping at her California home — - !I tho it is quite likely. She loves animals.” 1' Double Exposures Conducted by F. J. S. After looking the contestants over carefully, we respectfully offer the Modesty Prize of 1918 to Edgar Lewis. It w’as Mr. Lewis who announced his activities after this non-personal fashion : “lidgar Lewis ‘The Bret Harte of Motion Pictures’ announces .Six Ivdgar Lewis Super Productions, with the usual excellent Ifdgar Lew'is cast of players. EDGAR LEWIS.” A little portrait of a director named Ifdgar Lewis gave the final note of impersonal interest to the announce- ment. The exhibitors are the backbone of the screen industry, we are told. Real- izing this, we examine with interest the electric sign of a Boston movie house, which a few days ago read : “Mae Terlincks in ‘The Blue Bird.’ ” When Doug Fairbanks conducted his remarkable one-man; | parade up Fifth Avenue on behalf of the E'ourth Liberty Loan! : drive, thereby picking up several paltry millions en route, he'! gave the best insight into the psychology of America that we'*i can think of. When Doug called up from the street to J. Pier-Tij pont Morgan to drop a check out his window, when he leaped ij over subway kiosks for the benefit of the crowds and i| climbed into the windows of the Union League Club toy;| solicit contributions he was the dream of every Americant^^ boy come true. ' f : . ; ii;! Will Charlie Chaplin be as funny- j now that he’s married? j ! Five million married men scattered around the globe await the outcome ; with anxious interest. i ■ j ; Maurice Tourneur had hardly given : out the announcement that dancing is the best possible training for the screen when Earle Williams married Elorine , Walz. 1 ■ “P- .s- “Motion Picture Classic : “Having accepted challenges all my young life, noted your challenge in your ‘Double Exposures’ paragraph, I prom- ise you that in ‘The Master Mystery’ I shall escape from the Sunset Fade-out. In fact, I have -^Iready done so. Thanks for the suggestion. “Sincerely yours, “Houdini.” (Sixty-two) u QraceSMiller iVhovOrote'Tess o’the Storm Country and numerous other famous books and screen plays. Says - No intelligent person should take more than 5 evenings to 1 K* r Shorthand “A Truly Wonderful Thing is K I. Shorthand,” continues this renowned and successful writer, in a recent letter to King Institute. “It surely is simplified stenography that anyone can learn in a few hours; and then it is a pleasure to speed up in writing one’s own thoughts or taking down what others are saying. I am ^amazed at your beautifully easy method of acquiring such a valuable accomplishment. Thousands of other successful men and women have Utely 'e^nted K^ I. Shorthand in order to ^ promote their efficiency. Daily we hear of people who have never ‘bought they could spare the ti . to learn stenography, learning this new method with astonishing ease and putting it at once practical use. , You can learn K; I. SHORTHAND evenings Quickly Gain Ample Speed Wh,y not learn K. I.’ Shorthand now and lot It h«Il> Soi“ diSr® Uwer‘%r?S“™rre9^nde!nh salary — to jtrealer offtclency as a teacher, btisiness person, Icctun r. autlioi. aoctor, awyt i ‘'u rshorVtimf?oV“wm taorK!’f°Shorthand well eiio.ndi to serve you as a public or private stenographer- o1 by enlarging your usefulness. On 30 Days’ Approval Ih it not worth five evenhiRs of pleasant home practice to thoroughly master this important and helpful an? File evenings! Then you acauire speed us you continue practice. w T ■uhAfibind hflR tnkpn ttif world by stonn. Veung and old. beginners and experts are writing it. ft is destined to supersede the old comiilicated systems, for universal use. lilte the typewriter has replaced long-han . qo EASY TO LEARN — Forget what vou have heard of the hardship of learning the old systems. J- M.orthand 18 ini^asnrahly nnlilie an'y of them. It Is stenography pruned of its maze and mystery, clan- fled, simplified ; It is shorthand made shorter, easier to learn, more natural to write, as easy to read as lorig-hand— and never forgetable. .Exnerts In the old systems have abandoned them because they prefer the new and J: method K I. Shorthand omits all the perplexing, brain-tiring special rules, positions and shadings v lilch make other systems a nightmare for the student. It Is so much easier to learn because there is Infinitely less to study. It la tau.ght in progressive businoss schools and practiced by court officials and by reporters. OUR EXPERTS GUIDE VOU — The K. I. Shorthand Course is more than merely a text-book on stenography. We offer vou personal corresimndence tuition under the guidance ot c-xperts. Therrirno courL to compile with K. I. In brevity and practicability— and no cxiurse giving correspondence instruction that Is obtainable at leas than five times om char.ge. Besides the money you save, think of the months of grinding study you avoid. LEARN WITHOUT COST. You may Icarii tho entire K. I. Shorthand system without paying a cent of your money. The coupon will bring yon the simple plan. SEND NO MONEY'— K. I. Shorthand is offered on the most liberal terms right now Do not miss this opportunity. Send Immediately for the first two les- sons free You may then continue the entire course on a month’s approval. Do not send money. Wo give you a positive guarantee that you can learn or no cost to you. King IiisUtute is incorporated in New York State. *100.000 authorized capital. Be sure Cut out and mail the coupon, or write a letter, to mention "Motion Picture Classic.” KING INSTITUTE RE- MAR^- you like. I atfi takinp it down in /v. Z, Short- li and.” ABLE RECORDS WHICH YOU CAN EQUAL In the Civil $erv> Icfi — “Four months asto I knew abso- lutely uothlnpc of the first rudiments o f shorthand. To-day I am holdlnst a position as stenoRrapher in tlie office of Inspector of Buildings where the terms apply almost wholly to building construction. I think this sufficient recommendation of your system/' — E. M. FULTON. A Teacher’s Testimony— “1 learn- ed the K. I. Shorthand principles in five hours and after not (iuit»‘ two w(H‘k8' practice I can write almost as fast as anyone would dic- tate. It is easier to read than aJiy other a.vstem I hav© seen/’ — VV. RUDOLPH ALIaEN. Used In Big Business — ”1 learned your system of shorthand to save time in makinp notes while passina about the plant. After only slight study I can tolte down ordinary conversations. K. I. Shorthand is practical, time-saving and simple.” — S. B. ROPER. A Journalist — “Your system Is excellent, being simple, and yet comprehensive. I find K. I. Shortiiand also fascinat- ina in inv work as a press correspon- dent.”—ABBIE TOMPKINS. Better Than Pitman— T started with the Ben Pitman method, but stopped it to take vour Course, and I find it much qulclier and easier to learn.” —.JOHN LACHENMAYER. JR. 50 Words a Minute in 10 Daysr- •‘Already I can write fifty or more words per minute and It only took ten days— about a quarter hour each dav to learn.” — HENU\ DRANKK. '‘Go ahead! 7 am qetiin everything,” fClni: institute. Inc,. 1.'54 E. 32a St.. New York. N, V.. S S, Wabash Avo.. Chicago, III. Please send me FREE the (IrHl lessons in K. I. Sliorthand: iKioiluctory Offer and complete information. 1S4 Eaat 32d Street NEW YORK. N.Y. 8 S. Wabash Avenue CHICAGO. ILL. I Addrtxis. Eli-2l:t AMOTION PICTURE A MOST EXCELLENT I SKIN FOOD AND MASSAGE CREAM of Charming Delicacy and Parity JAPANESE JARS. 75cjOpal Jars, 50c; Tins, $1.00 Drugguts or Direct Send 25c (or a very generoiu Tria Package FRED C. KEELING & CO., Rockford, lit. THE MAQ0^Co ^CHEHISTS riRLs-woMEN w A WTrn i Vl AGE 18 OR OVER f f 1 MuMJ • $90.00 to $150.00 Month U. S. Government Need* Thousands Immediately Easy, pleasant office positions; filing, writing, list- ing and similar work in the Army, Navy, State, Ordnance, War Risk Insurance and other deuari- ments of the Government at Washington, D. C. Similar positions in Government offices in prac- tically every city in the country. Office Experience Unnecessary. Common Sense Education Sufficient. Your country needs your help in properly carry- ing on the work of the war. This is your chance to do your bit, and at the same time earn a salary of from $1100 to $1800 a year. Fill out and Mail the attached Coupon. DO IT TODAY, TOMORROW .j.- MAY BE TOO ^ LATEI ^ Address FRANKLIN INSTITUTE ^ Dept. Y77, Rochester, N. Y. Gentlemen: Kindly wjnd me, at onw, and entirely without charge ^ or any obllgatiou on nruv part, list ot U. S. Govoniment iH)sition8 now open U> women. Advise me also re- garding the salaries, hours, work. ^ vacaiion and date of the next exam- fip * illation in iny soction, sending me free sumpio examination questions. !\unic . IIIIMIIIIMIIIllllimilllliMllllltlOIIII^ S I S : 11 American Art || is . ‘ i 1 1 We have on exhibition at all times a || j| large collection of paintings by the most || 1 1 famous of American artists, including fine | 1 1 examples of George Inness, R. A. Blake- | I lock, Elliott Daingerfield, H. W. Ranger, | i J. G. Brown, G. H. Smilie, Arthur Parton, | i| Carleton and Guy Wiggins, Edward Mo- I I ran, Eugene V. Brewster, etc., etc. | I I Illustrated Catalogue in Colors | I mailed for five cents in stanvps. | || LA BOHEME f I I 175 Duffield St., Brooklyn, N. Y. | S fiMllllllllillllllllllllMinilllllilMllllltllllllMMIIIIIIIIMIIIMIIIIIliiMIIIIIIMIIIIIIItllMlllllinilllMlllllllltlilKIIIUIIIIMirNIIIMIlR | ^illlKlIillMIIIIIMIMinilMIIIIIIIMMIIMIIKIIKIIIMIIIItlMIIIIMIIKIIMIIOItltMMnilMMMMMMIIIIIIIMIIIIHMMIUMlilllllllMIIHIIIIIIIlire Submit your Song.Po«ra$ NOW for free esamin»tion «nd We revi*e poems, compote muiic of any deKription, * l tecure copyright and employ original metbodt A for facilitating FREE PUBLICATION or C.rd bring*! outright SALE of tonga under a you « copy of our certificate GUARANTEE. .. Booklet which • W tella you who we are, en* ■ 3 plaint our melhodt and eon- e 1 ■ taint valuable information and Jnttrucliont. Thii it your opport unity to learn the truth regarding the Song- writing profeition from a reliable and tuccetiful concern. 75 Gaiety Bldg,. N. Y City. ING you taiiafac- 1 1 0 n . ^ KNICKERBOCKER STUDIOS. The Hope Chest {Continued from pacjc 35) privilege of gazing into the young eyes sweeter than the bon-bons, or the greater one of holding, furtively, the deft young hands — or by the hoi polloi met in drift- wood theaters in backwater towns of the States when traveling with Lew Pam. There had been heroes of romance, of course, but when all is said and done, romance breathing up from paper pages is hardly satisfactory to a hungry heart. Tom Ballantine had seemed the marvel- ous crystallization of a dream. He had .seemed — oh, everything youth wants when youth is very young. But now' . . . among other things achieved by money is a larger vision. Not always a truer one, perhaps; that depends upon the person, but a broader scope at least. After a year at Miss Perrin’s ultra- modern school, after vacations with the Lounsberrys, than whom Gotham boasts no higher strata, after the knowledge that young Stoughton Lounsberry w'as ready to barter his hope of heaven for the privilege of a smile from her, Sheila began to see Tom as Tom really was, and always had been, e’en on the immortal night — very young, very uncontrolled, very reckless and feckless, very lovable. A boy who might become a man — ^in time. Sheila was very young herself, very young and with no one to turn to for the help her troubled heart needed. But down from the slender little lady who had committed only one sin, that of loving Lew^ Pam, came a nicety of judg- ment that stayed wdth her now'. On the night before she left school for good she knelt by the hope chest and tried to vis- ualize the mother she had never seen save thru the loving agency of Lew Pam’s reminiscences. She saw her best, she thought, in the intricacies of lace and cobweb fineness contained in the hope chest. Only a lovely lady, Sheila pon- dered, could have called to life these fairy things. Only some one who must have loved her very dearly could have left her such a legacy. Sheila had al- ways suspected that her mother had left her this chest with a purpose — to point the w'ay to the girl to another life than that lived by Lew Pam. “She wanted me to know,’’ Sheila whispered ; “she w'anted me to know ...” She thought, too, of the time Miss Perrin, who had become a very good friend of hers, had told her that there THE HOPE CHEST Adapted by M. M. Stearns, from the story of Mark Lee Luther. Directed hy Elmer Clifton. Produced by Para- mount. The cast : Sheila Moore Dorothy Gish Lew Moore George Fawcett Tom Ballantine. . .Richard Barthelmess Dallantine. Sr Sam de Grasse Mrs. Ballantine Kate V. Toucray Ethel Hoyt Carol Dempster Stoughton Loimsherry. Bertram Grasshy W'as a fortune in the hope chest. “TheifP is, ” Sheila had replied, “but not c,B* money. .All that I have of my mother tP have here ...” W “It is more than a legacy,” Miss Pei; P rin had said, as her cold, aristocrati, P fingers touched the filmy things; “it is I legacy of dreams ... of dreams ... “I know,” said Sheila, and her brigL tears had fallen on the laces and gleame] there, fairer than pearls. ' Sheila was sorry to leave the schoo sorry to leave Miss Perrin, and Moll'| Lounsberry and all the others w'ho hat j* made her forget for this brief interva aught save the fact that she was a gii and life was very good. She knew' tha now she was going back to stand at th bar of tlie Ballantine approbation or dis aiiprobation. She knew' that she was ti be examined, apiiraised, accepted or re jected. She was to be taken *in or casj forth again. She was to be his wife — ofi not to be. Her mouth set in an ode little way. “I have a debt to pay what ever way I look at it,” she said; “a bij' debt . . . r 'm going to pay it.” | Father and Mother Ballantine wen unanimous in their approval of the fin-' ished product Miss Perrin had sent theim' The girl had been lovely before . . . now she was epicurean. She had trade-i' marks . . . w'ealth can give them . . .' she W'as flawless. Plow much the seal of the Lounsberry afifection had to do w'itli the verdict pronounced must ever remain an enigma locked in the Ballantine breast. Anyway, Father Ballantine im-; printed a salute upon her brow, waved a grandiose hand at the tw'O young people, ! and pronounced, “Now go — to your re-' ward !” Tom’s young face flushed, but Sheila turned very white. “Mr. Ballantine,” she said, so softly the old gentleman had to bend his head to hear, “I owe you — a^ great— debt. I — I am prepared to pay it. I — I give you back — -your son.” Mr. Ballantine sat down. He w'as not quite in the habit of having his golden, only son handed to him, as it were, upon a platter. He w’as prepared for obse- quiousness, not refusal. He was plainly and badly flabbergasted. He turned to- his w'ife mutely. The upshot of thm conclave was that Sheila, w'ith Tom’r stern face smiting her to the heart, ad- mitted that she did love him, did, and, in Tom’s demanding ear, after the limp parents had exited, that .she always had — never had loved “that Lounsberry”— j w'ould go on a honeymoon — and of^ course had never forgotten “that night.” Thus, on the Ballantine yacht, the Pas- time, they recaptured for a golden, idyl- lic month the lost delights of the lost Arcady — lived and dreamed w'ith the gods under a waxing moon — kist with the mouth of the sea opened to kiss them both — bound themselves round with roses red with the warmth of June- quaffed the ambrosial cup and could not find the dregs. Love bound the limbs of jealousy and blinded both his eyes. The ( Sixty- four) ! I I 1 LASSIC 1 (ingdom of heaven was at hand. But ^ p was the kingdom of earth. Man has | U the wisdom of the gods. He finds le gate of paradise, wrenches it wide, lien closes it in his own face. After a lonth on the Pastime, Tom and Sheila jturned to Newport, and Tom went to rork in the factory built for the sole urpose of the sweet teeth of the world, heila wore delectable Lucilles, ran 'olls-Royces and spent money deli- lously. Every morning she convoyed om to the smoking stacks of the fac- )ry, every evening she ran down to con- oy him back. Life skimmed along as isily as her purring, upholstered road- ier. Then, with the ghastly impact life las a habit of inflicting, there came news jf a train-wreck on which Tom might ije, a hurried trip to the horrid scene and, ,|ot Tom, but Lew Pam, lying among the i|ebris. He raised his arm to shield his i l^ce when he saw his dainty daughter | nd her young husband coming toward :im, but he was too late. Sheila saw lim, fell on her knees, tore away his con- jjaling arm. “It’s Daddy — it’s Daddy — :iy own Daddy!’’ .she moaned, and never ijnew that the eyes of her husband had jever beheld this man before nor his iirs heard his name. “You did see lim,” she protested, as Tom muttered [lat he had never seen him, she .should jave told him. “You did see him — in a iieater one day last month — dont you i^member? — we went — he came out — i!ou — you laughed at him, and I — I went jut ” I “So that,” mused Tom, remembering, 'was ivhy ...” I' “That,” snapiied Sheila, unfastening |ie unconscious man’s collar, “was why. »e so good as to get a doctor — quick — jt once ...” “You cheated,” said Tom, as he stalked ^way; “you — you ” ! But Sheila did not hear. She was iTooning to the man who had crooned so iiany tender times to her, holding, in jer turn, his bruised head upon her best. While Lew Pam was mending at a initarium under the constant ministra- lons of his daughter and the kindly help f Roger Ballantine, Tom was drifting, iheila had aroused his jealousy again, nd it was strangling him. Aided by his DO vivid imagination, he was conjuring p for her impossible people of whom, s he had been of her father, he was in ainful ignorance. Wisely, Roger Bal- antine deported him to the Far West. jYou need,” he told him, “distance to see a, my lad. You are growing short of light. Go away — stay away — until your jision clears.” I When Lew Pam got well .Sheila turned jo the hope chest. “I cant,” she told jloger Ballantine, when he offered to jielp her until such time as “that young jss gets over it.” “You are dear — but I ant. Miss Perrin is going to help me, nd we are going to open a tiny shop nd call it The Hope Chest in the hotel {Continued on page 74) ' (Sixty- five) ' OUT HCRCim mmm, mmm ^ flNTERNATIONAL CORRESPONDENCE SCHOOLS ‘‘$100 a Week, Nell! Think What That Means To VsV* “They’ve made rne Superintendent — and doubled my salary ! Now we can have the comforts and pleasures we’ve dreamed of — our own home, a maid for you, Nell, and no more worrying about the cost of living! ^ “The president called me in today and told me. He said he picked me for promotion three months ago when he learned I was studying at home with the International Corre,spondence Schools. Now my chance has come — and thanks to the I. C. S., I’m ready for it !” Thousands of men now know the joy of happy, prosperous homes because they let the International Correspondence Schools prepare them in spare hours for bigger work and better pay. You will find them in offices, shops, stores, mills, mines, factories, on railroads, in the Army and Navy — everywhere. Why don’t yon study some one thing and get ready for a real job, at a salary that will give your wife and children the things you would like them to have? You can do it! Pick the position you want in the work you like best and the I. C. S. will prepare you for it right in your own home, in your spare time — you need not lose a day or a dollar from your present occupation. Yes, you can do it! More than two million have done it in the last twenty-seven years. More than 100,000 are doing it right now. Without cost, without obligation, find out how 'you can join them. Mark and mail this coupon ! BOX 6757, SCRANTON, PA. Explain, without obligating: me, how I can qualify for the posi- tion, or in the subject, before which I mark X« QELErTRIOAI/ ENGINEER □ Electric Lighting and Railways □Electric Wiring □ Telegraph Engineer □ Telephone Work □ MECIUNU’Ah ENGINEER IMechanical DruftNman jMachino Shop i*racrice 1 Too I maker jGas Ej.ngine Operating loiVIL ENGINEER jSurveyinp and Mapping Imine egkeman ou engineer ^statignary engineer ^'Marine Engineer jShlp Draftsman □ □ Contractor and Builder n Architectural Draftsman ^Concrete Builder □ StruciurnI Engineer □ flumring ani> heating nSheet Metalworker □ Textile Overeeer or Supt« hCHEMIST SALESMANSHIP ADVERTISING Window Trimmer Show Card Writer Sign Painter Railroad Trainmao ILLUSTRATING Cartooning BOOKKEEPER Stenographer and Typist [Cert. Public Accountant [TRAFFIC MANAGER [Railway Accountant ICommercloI Law GOOD ENGLISH Teacher Common School Subjects Mathematics CIVIL SERVICE Railway Mall Clerk AlII OMOHif/E OFEKATINO Aitto Reualrlng Narlgatton IGSparrUb _AGuiri:i/rrRE InKrmfh LJ Fvaltry llAhing l[j Italiao City State Learn Piano! This Interesting Free Bobk shows how you cau become a .skilled )»layer ecial Training Course during your spare time at home and receive diploma approved by best doctors Easy terms. Hospital expe- rience given if desired. We help you find employment. Write at' once for catalog. State age. AMERICAN TRAINING SCHOOL. Dept A. 1S55 N. la Salle St.. Chicaao You Have a Beautiful Face BUT YOUR NOSE? IN this day and age attention to your appearance is an absolute necessity if you expect to make the most out of life. Not only should you wish to appear as attractive as possible for your own self-satisfaction, which is alone well worth your efforts, hut you will find the world in general judging you greatly, if not wholly, by your “looks,” therefore it pays to “look your besf’ at all times. PER- MIT NO ONE TO SEE YOU LOOKING OTHERWISE; It will injure your wel- fare I Upon the impression you constantly make rests the failure or success of your life. Which is to be your ultimate destiny? My new nose-shaper “Trados” (Model 24) corrects now ill-shaped noses without operation quickly, safely and per- manently. Is pleasant and does not interfere with one’s daily occupation, being worn at night. Write today for free booklet, which tells you how to correct Ill-Shaped ' , Noses without cost if not satisfactory. M.*f RILETY, Face Specialist. 1039 Aokeirman Bldtf., BlnRhamton, N. Y^,’' EXQUISITE DAINTINESS is necessary to every woman who wears the sheer georgette and organdie blouses or the sleeveless dancing frocks decreed by Fashion. She must re- move the hair from her arm-pits to be either mod- est or well groomed. X-Bazin provides the simple, comfortable, womanly way of eliminating hair from the lip, arms, or arm-pits, in five minutes - just as soap and water dissolve and remove soot, leaving the skin smooth, soft and white. .toe a//tf <1 .00 at itr/nr and dc/niyt’iiatt stores, or '.re loiti ntail i' direct on receipt of price. HALL & RUCKEL, Inc. 220 Washington St., New York Famous French x Depilatoiy Powder ARE YOU SAVING WAR STAMPS? IfNot? WhyNot? W.S.S. WAR SAVING STAMPS issued by the UNITED STATES GOVERNMENT Ever\' child saves pennies. Every parent should save quar- ters. And what better banker than UNCLE SAM? WAU SAVIXdS STAMPS are the answer of a sreat de- mocracy to the demand for a democratic form of Kovernmeiit sw'urily. Yor SHOII.D BUY W’AH SAVINGS STAMPS BECAUSE: 1. Your CNmntr>' needs every penny which each man, woman and child can stive and lend in order t’o feed, clothe, arm and e die soldiers and sailors of America in order to HASTON the vlctbrious ending of the war. WAK SAA'EHS AUK LIFE SAVERS. 2. WAU SAVINGS STAMPS increase in value from the date of jjurcliase until the date of maturity, and this In- crease is guaranteed by the government, GET A THRIFT CARO A THRIFT CzVUI) is furnished for the convenience of. all purchastMS of 25-cent stamps. This card has spaces for 16 stamps. Ulien all tli© spaces have been fUJecl, the THRIFT CARL may be exchanged for a $5 stamp at post’- offices, banks or otlier authorized agencies by adding 12 cents in cash prior to February 1, 1918, and 1 cent additional each montli thereafter. If you prefer, you may purcliaso a $5 stamp oul'right, Tliey automatically increase in value a ot*nt a month every month thereafter until Januaty 1. 1923, when the United Statics will pay $5 at any post-office or at the Treasury in Washington for each stamp affixed to a War Savings cer- tificate. Additional information may be ohtained at your own post-office or bank. BIT— DON'T HESITATE! BUY NOW! at any post'-office. bank, trust company or any other author- ized agency. AND STRIKE A IH,OW FOU YOITI COUNTTIY AS UT.LL AS saving for the future. The Battle Hymn of Democracy Tlu- Souk of Human Freedom Triumphant. Tlic Song that «?tirs men’s souls, Put one in your home. Scud 25c. for OIK piano wuiy. words and music. 60c. for 3 or $1 for 6. ARMAGEDDON PUB. CO., 141 Broadway, New York Buy an Income Month by Month Do YOUR savings earn over 6%? Savings invested now in the securities of the greatest American industries will earn from 6% to \2% annually This high yield is possible because of the low prices at which many sound securities are now selling. You can purchase these securities on The Ten Payment Plan by paying 20% now and the balance in nine equal monthly pay- ments. Buy one share or more — to suit your means. Dividends will be credited lo you as due after your first payment. Let us send you a list of investment sug- gestions and our booklet, P-1. E. M. FULLER & CO. MomlTcrs, Consolidated .Stock E.xcJiauge of N.'i. 50 BROAD STREET NEW YORK IMEo'V’iG ! A fascinating profession that pays big. Would you like to know if you are adapted to this work? Send lOe. for our Twelye-Hour Talent Tester or Key to Movie Acting Aptitude and find whether or not you are suited to take up Movie Acting. Instruc- tive and valuable. Send dime or stamps today. Interesting, Illustrated Booklet on Movie Acting Included FREE! Film Information Bureau, Sta. t*u must know to put your stotics over. 'Hie Palmer Plan is tiie firsl plan of photoplay instiuction ihat shows you l\v ilircid twainplr how to write your stories in the action- language of the screen. It train.s you to think in action — shf)\v.s you how to latt^ynur stories into proper, acceptable form. It is compact, complete and aut}u»riiativ'0. It is concise, thorough ami easil\ mastered. If you want to know about the famine in photoplays — and the falmlous prices i)rodncers arc willing to jiay for the rigiit malertal- - send today for our ttew’ illustrated booklet, ‘'The Secret of Successful Photoplay Writing.” Shows the big demand for 1 ’aimer-trained writers — shows how you, loo, can tmd success in this highly p. fascinating licld. Send for your copy at once CECIL B. de MILLE J)irectoi’-G(’noral Fu mous Players - Laslc\ / Corporation, says: “If a writer can give us a now stor.v, wo arc ready and willlJig to pay for it and pay well ... I am heartily In sympatiiy wtlli the I’aliner Plan and will always Iw ithid to have Frederick I'nliner cull iny atteidion to stories tliat sUidfiits of the l^almcr Plan CToato.'* DOUGLAS FAIRBANKS through Ins Scenario Editor. RUTH S. AITjEX, says: “IJko every other screen scar. I am ulwa.\a looking I’ov now veI\h’los. and any time That Frederick I^alniev llnds a meritorious story among tlio ciforts of sttidenta of the Palmer Flan, 1 shall be fciad to give it a hearing.’* FRANCES MARION ‘ I'aniDUs $r)0.ui)u-a-.vear scenario writer for -r' Mary Pickford. t*ay.s: “There is alw'a^« a market for clever new stories; ajid there is no reason why dear- bra iiied men and women cannot write and sell pliotoplay.s. if tlicy put into practice the adviw contained in the Palmer Plan.** ‘{'yfte SECRET q/‘ SUCTESSrUl FliIO'roPI,AY WKITING Don’t delay — write Today! PALMER PHOTOPLAY CORPORATION ^ 41 I. W. Heilman Bldg. Los Angeles, Cal. 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Aw«» PeDt.iyj[ I Chlcai ten ua vruiwts vs suo bviiv ifaove you wish (ladiea’ or Sessue of the Samurai — {Continued from page 23) Thii U our Annual Appeal L Send Donations to Commander Miss Booth 118 West Fourteenth Street, New York City Weatern Dept., Commiuioner Eitill, 108 N. Dearborn St., Chicago of the half-light of the doorways. Quaint, musty smells pervaded the whole pictui-e. We fell to talking — at least I did— about the effect of peace upon the war books and war plays. “How long do you think the public will be interested in war stories after peace is declared?” “Ten,” said Hayakawa, with the quick decisiveness of a sea captain ordering the moorings cast off. “Ten what?” “Ten days.” “How do you know?” “We have had practical experience in Japan — twice,” said Hayakawa. “After the Chinese-Japanese and Russo-Japan- ese wars we saw our victorious soldiers come home. For ten days the public was wild over their stories. Then it was as tho some one had erased something from a blackboard.” , And I knew that was all I was likely to hear that evening. Another evening we fell to talking about motion picture acting. Somebody was raving on about the limitations of motion pictures. “You never can put over a subtle story as you can with words.” “You cant tell a subtle story with words,” retorted Hayakawa. “You cant tell anything with words.” “You cant tell it by screwing up your face and grimacing,” contended the other man, who somehow felt his case slipping. “That’s is true,” said Hayakawa. He was silent for a moment ; then he made the longest speech I ever heard from his lips. “In Japan we had a great actor; his name was Danjuro. I remember one time seeing him come into the middle of the stage and fix the audience with his gaze. He didn’t speak a word. His face was absolutely immovable. Every trace of expression was gone from it. It was set like stone. He just stood there and looked, and as he looked you could feel the audience catch its breath. He kept on looking. The audience became so tense that it seemed as tho you must scream if he did not move. I remember that I mysel f was almost hysterical when Danjuro finally relaxed and released his hold.” “Bunk !” said the skeptic. “How did he do it?” “I am afraid it would be too difficult to explain,” said Hayakawa. “Perhaps I may best illustrate it by saying this: I always try not to move my face in emotional scenes. I came from an old Samurai family in Japan. In that caste it is considered to be extremely disgrace- ful to show your feelings. “Under no circumstances must you lose your absolute self-control. For in- stance, suicide is very common in Japan. The rites of the hari-kari are very elabo- rate. The knife is thrust into the left side of the abdomen, drawn across the stomach for exactly six inches, then up- ward for one inch. It is considered shameful if the suicide, in his pain an , agony, shows that he was too agitate |j to make the cuts with exactitude. T1 1, dread of every Japanese boy is that, kil i ing him.self, his body may show that his death agony he has thrashed ar,^ kicked his legs around, thus bringir,^ lasting shame to his family. { “In these ideas I was raised. I Wi||j taught that death was a mere incider j that honor and poise were everything. |, “Therefore, when in motion pictur ^ I have to portray, let us say a scene i ^ hatred, I do not try to show it with n j, face. In fact, I try not to show it in n,] face. But I think in my heart how ij hate him.” ,il “But how do you get it over?” ask-.] one of the actors in the group. “It gets over in a way more subi,^ that I could say it in words,” said Hay^ kawa. |j “But how ?” persisted the actor. “I wish I could tell you,” said Ha}jj kawa, simply. “But unless you ha studied Eastern philosophy, it is hard make it clear. There are many 1: forces that the East knows that are r to be put into words. “For instance, let us speak of jiu-jit: I dont mean the kind of jiu-jitsu tb teach policemen ; that is baby stuff ; tl is only the rough preliminary trainh The real jiu-jitsu is of the mind, not 1 body. After you I'^ve studied for years, they tell you one secret, two ye; more and another secret, and so on.” “What’s that got to do with it?” asl the actor. “This to do with it,” answered Ha kawa. “If you should try to shoot old Japanese samurai, he would tell ] to put down the gun. You wouk know why, but you put it down, would know why. “By the same token, I cant tell ; why it gets over when I think hat that way, but I know why.” This is a little off the subject, but another time Hayakawa slipped us little secret out of the mysteries of jitsu. “The first time you go to your gai in the darkness and hear a noise suggests burglars and guns and thi: just do what I tell you. Draw in } stomach, right at the bottom of your domen. Draw in until those mus are as hard as rock — then see if you make yourself afraid of anything in world. When the old drill-sergean West Point tells the cadets to ‘sucl them stomachs,’ he thinks he is ' making soldierly figures. In realih is drawing upon a great psycholoj truth as old as the ages. He is insu them against fear.” The charming thing about Hayab; is that the next instant he steps back the twentieth century and is a golf fi a trout fisherman and a good all-an companion, ' In all his customs and manners,, {Continued on page 72) (Sixty-eight. ,SSIC Florence the Oriental — t C ontinued from page 21) at the most we have (jnly a half- to do out' work in. But tomorrow afternoon they are ig to take some .scenes in which I do appear, so in all probability I shall home about five or shortly after. It happened very fortunately, as 1 am bcularly anxious to get home in time but the finishing touches on my hus- |d’.s birthday dinner, as we are having pw friends to dine, to celebrate the bt. But that will not take very long, !have made all the preparations well dvance. .So I would sugge.st that een five and six would be perhaps best time to see me, if it is all the |e to you.” y\nd so it was settled, i star of the stage and a star of the len all rolled up into one is a pretty I combination. But if you happen to t a friend of Miss Reed’s you will find out that .she shines just as htly in the domestic sphere, ow when you go to Miss Reed’s you It not be surprised if, as you stand Pide the door, you overhear what [iids to you a most extraordinary con- lation, something like this; bJoffee !” it may begin, in clear, sweet rk “My sweet coffee ! What is there I Ido for you ? Have you been lonely day long? Have you missed- as apt as not to be interrupted by an- trophe to muffins! “Oh, muffins, you are,” the same voice continues, kiting here so patiently. Have you p lonely, too? Angie, isn’t it strange NI coffee is so black and that muffins is P"ys so white?” p, does all sound very strange until |i| hear another voice answer, “Miss ji those dogs were both washed this filing, and look at the difference be- tn them.” ie mystery is solved, and as the door s you see that “Coffee” and “Muf- are two white poodles, whose bright (ences have been shadowed by one -)w, the departure of “Tea,” their ler, to the land where all good little h SO- Biss Reed, not being at all an ordi- sort of person, has not at all an nary sort of a home. Her drawing- li, for instance, which is her great 'jind pride, resembles more some spot ne Orient than any drawing-room ijhave ever seen in any home in New It is a Chinese room. Bpu feel instinctively as soon as you t" it that it is a room upon which 11 care has been lavished. It is the >jice of beauty and at the same time ii the acme of comfort. You dont ^as you go into it that you are in ^ sort of an antique .shop where signs Jjiung at regular intervals bearing the ting, “Please do not handle.” ^iss Reed has furnished this room ■isly herself. She has delved about (jiaint old shops until she has found ill exactly the furnishing she had in iij. When she couldn’t find what she wanted in New York, she waited until she could get to San Francisco, where the Chinese shops have all sorts of rarities to offer. It took many, many months to complete this room. The lamps alone represent many hours of patient searching. After you have talked to Miss Reed for a short time you discover that she is entirely different from any star you have ever met. She does not indulge in com- monplaces. She does not tell, with con- viction ringing in her voice, that the tech- nique of the screen and the stage are two entirely different arts, nor that while the motion picture industry is in its infancy, she has unbounded faith in its future, nor does she make the hundred-and-one stereotyped statements that burst forth periodically from the mouths of stars who feel that these remarkable dis- coveries should be published broadcast to a bewildered but admiring public. Miss Reed is too genuine and too sin- cere to resort to platitudes for her con- versation. After an hour’s talk with her you get some glimpses of the real Flor- ence Reed, and you will discover : That she has a brilliant, vivacious per- sonality ; That she has a lively appreciation of anything that is genuinely good ; That good books, good plays, good music form an important part of her daily life; That she knows music backward, hav- ing once studied the piano with the idea of using it professionally, but that she abandoned it for a career on the stage ; That she considers Charlie Chaplin is a genius, and that she fully expects that one day he will be not only a great come- dian, but one of the foremost actors in America ; That she has a huge capacity for en- joyment ; That she has a delightful sense of humor ; That she is as lavish with her praise of those members of her profession who are accomplishing things as she is with- ering in her scorn for those who fail to take their work seriously ; That this season, for the first time in many moons, she does not appear as a “vampire” or a “bad woman” of any kind, and that she is heartily glad of hav- I ing the opportunity of turning over a new leaf ; That nothing gives her so much pleas- ure as to hear good music, and that she is a frequent visitor to Carnegie and .i^lolian halls ; That she didn’t know that she had the reputation of being one of the best i dressed women on the stage, but that she thinks that any actress who neglects to make a study of the science of clothes is making a grave mistake ; I That if you want to arouse her ire these days, all you have to do is to ask i her what she is doing with her spare > time. 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Tliis is tlie slor.v of a pirl's life in tiie mo\ie world of lais AuKelcs-that hapi>y-«o-lucky country win re fortunes and Kfiirs are made on an Imimlso — where life is full of lljilits ami laiwhter and danclim— whore moil and \\'(>mon live niul liroatho tlie inviuoratiup: at- moMiihoie of the studio until it iK'Coinea real to thom--- tiiori real, j>orhai>s. than tlie trasedies ami cointHUea of their own Hve.s. Go to-dav to .vour ixwkseller's and pet THE CLOSE-UP By Margaret Turnbull, SI. 50 Kind It and I'Uss it on to a siddier. HARPER & BROTHERS Ettabli.hed 1817 HOTEL BINGHAM — Philadelphia IN THE CENTER OF EVERYTHING Large well lighted and comfortable rooms. Hot and cold running water in every room. Only hotel having direct Subway and Elevated connection with all railroad station5» ferries and department stores. Roof C>arden. Club Breakfast. Special Luncheons. Rooms without bath, $1.50; with batn, $2.00 up. FRANK KIMBLE, Manager, Where There’s an Alice Brady There’s a Way — (Continued from page 25 to me relinquishing my vocal training. ; He would not help me in the theatrical world at all. So I ran away with a Shu- bert show in which Fritzi Schefif starred, getting a small jiart. When we came back to town, Dad saw me. He realized my determination— and has been my pal ever since. ' “I have been doing pictures three years. At first I thought I should never ^ get used to it. There was such a lack of [ inspiration in registering before a cam- I era! Such a want of human response! Such a need of applause ! But I love it. ; I love it now. And that is why I give ; my best. “The celluloid world, however, I find is hard and heartless. It doesn’t want people who ‘keep’ their ages, or who do not ‘show’ their ages. It wants those without ages. It will not- stand for wrinkles and big pores and soft chins. It is cruel. It demands youth first, then j beauty. I know too well that we cannot ' all be Mary Pickfords and Norma Tal- - madges, and therefore, because of my silly, irregular features, I have to work a great (Jeal harder. You cannot im- agine how many disappointments my nose has caused me while I have been reviewing my reels ! “There are numerous things which on the screen look trivial and of inconse- ' quence. But those are the details that encompass so much labor. For instance, that picture of mine, ‘The Death Dance.’ ' Do you know that every evening when my camera work had been finished, I I would go to my master and be given in- struction how to dance? Oh, I can kick ' and prance about, of course, but that tango had a most' peculiar tangle of steps. It certainly took a while of re- hearsing before it was filmed. So there you are! Devious details diligently done hash on the screen one second, flash off the next, and” — she pertly tos.sed her head and stretched her chin to a be- witching angle — “look like nothing.” I “Hello, there, Teddy,” she greeted j Conrad Nagel, the young man who plays I opposite her in “Forever After.” “Have I you come to fetch me ? Well, I cant go, I I cant go, I cant go,” she jovially whim- pered, twisting her skirts about her, put- ting her finger in her mouth and laugh- ingly chiding him as she does in the play. “No, sir, I cant go out tonight. So run along, Teddy.” .She stamped Jier foot. “Teddy, do you hear?” Roguishly widening her eyes and giving the dimples a chance' to dominate again, “I’m busy. Dont you see? Woof!” And away re- luctantly went Mr. Nagel. “He’s a nice boy,” Miss Brady smiled, turning to me. “That is one reason that I gave the party. He was to have left for the navy today, but we managed to get him thirty days’ leave. Awfully young, only twenty-one. That is why he was not called before, altho he wanted so badly to go. He ” “Miss Brady,’’ interrupted the maid, : “here are some more flowers for you.” “My! It’s big and heavy and ” a the papers were torn away, the exclamz tion ensemble was — “beautiful!” “Aren’t they just heavenly?” cam from the depths of the blossoms an ferns. Miss Brady was ecstatically sul merged in their fragrance. But before she had time to ask, “Whi do you think?” and before I should hav had time to answer, a United StaU Army officer approached. “Look her .\lice,” he sternly said, “we will not a low this much longer.' Your, party, yoi friends, your ab.sence. A little fun fc you, miss, and with you. Come along He lifted her off the ground, into h arms, curtsied, as best he could, his ej cuses to me, and carried her off to tl dance floor. There was a roifsing chei — I could hear it from my post — and clapping of hands. Then, before I hs a chance to realize I had been left alon I, too, was out there, one-stepping wit Mr. Nagel. The music was mighty good. It w; a victrola they were using. As soon i one record was finished those in chaq immediately put on another. They d not want to lose a moment. They d not want to stop. They did not want give up Alice. Conrad Nagel lauglu into my ear, “Isn’t she the bully sort? |j fierce worker, tho. Do you know, if si had her way now, she’d just as lief 1 rehearsing Saxon Kling’s part with hit See that light-haired chap over there That’s Mr. Kling. He is going to tal the part of Ted when I go.” During the fifth and sixth encores v stopped in the center of the floor to ch with Mrs. Russ Whytal and F'rai Hatch (Mr. and Mrs. Clayton in “Fc ever After”). As the music struck i and we began to sway onward, Mi' Whytal sallied, “It makes us both ' happy to see Jennie acting frivolous fi a change.” ' A few hours later, when I was leavi'^ for home. Miss Brady came up to f and took my hand. “I hope you enjoy yourself,” she dimpled. “I was qu surprised with the music, myself. Tl is the first time I have not had a ba of mesmerizing musicians. But w shouldn’t we learn to get along withe them? C’est la guerre! “I did not tell you much, did I ? E then, it was impossible to talk a great di when there was so little to talk about.” And so I left this busy young worn;: I rode home thinking Miss Brady bona fide, 100 per cent Yankee. S comes that way by her parentage, h mother was French. Her Dad, (one c: not possibly call William Brady anyth! but that when thinking of him in conn] tion with his Alice), is Irish. And ; she is peculiar in the fact that she di not try to take advantage of her herita* She is not the least bit socialistic. is not a whit of a snob. Here L a ( who loves to work fifteen hours a c and zvho doesn't have to do it! ' Sriifiii >i) LASSIC The Man Who Is Never Himself — [Continued from page 40) ntrting. Doesn’t sound remarkable or irilling so far, does it? But you must ■member that we were just entering oon the so-called ‘quiet school of acting’ id, therefore, what happened made a g impression. I was madly jealous of le man involved, and entered tensely, )oke my lines in a low, repressed voice, ;ted as we do now on the screen, with nphasis, but always slowly and thinking e hatred and jealousy, which changed ly whole being.” The broad arm-chair in which Mr. awcett had been sitting suddenly con- prted itself into a tete-a-tete, one of lose foolish, gilded things with bro- oded seats that were in vogue twenty [■ars ago. There wasn’t any fuss, no ^plosive opening of doors, but a jealous dividual at white heat came over to jat cooing couple and hoarsely whis- red words which burned themselves to one’s memory. And the timid lover cepted the ‘‘Here’s your hat, what’s lur hurry?” invitation and departed. ‘‘The next morning I was famous. I mt mean by way of newspaper fame, t among the profession, among the big rectors along the Rialto. They said, /ho is this chap Fawcett ?’ I think I it about everybody in the profession thin a couple of days. The papers intioned the little scene, and I felt I IS a made man. Unfortunately, I was ung enough to let it go to my head, d within the month following I was ting all over the place. Say, I was nply rotten! Then I woke up. I saw e immense power of that style of act- g, but also the necessity for effacing .e’s own personality and living, breath- g the part. /‘After that I did ‘Blue Jeans.’ I was Svengali, of course. Everybody has en a Svengali at some time of his life, pu get it just like the measles and liooping-cough, but some recover more ickly than others. I’ve known men to [jffer in that way for fifteen years I'aight running. Lackaye created the le in New York at the same time that created it in the second big show put 4, mine being on the road in all East- la cities. Then I did ‘In Old Ken- bky,’ played with the Palmer Stock Dmpany of New York, next was a sea- In with Maude Adams in ‘The Little ’inister,’ went to England for three ars, came back and did ‘The Squaw •an,’, and have been in any number of ays of note for many years past. I am ireful in drafting a part. 1 study it am every angle — what would the natu- l man do in this or that situation? lat is how an author writes. He places lii characters in every conceivable con- pon and position with relation to other jaracters, and asks himself questions jnstantly. I am a firm believer in this fcthod. Then I always actually live the jrt during the time I am essaying it. I iild not conceive being myself and ijart from the character. Even at home must eat, think, work, dress and in all / Seventy-one) ways live as that character naturally, would. That is my creed — -not to live my own life as George Fawcett, but hon- estly to give every thought force and every moment of time to the character I am, for the sake of realism and natural- ness.” ‘‘You’re evidently a firm believer in working on the psychological side of acting.” ‘‘Without psychology no man can be a great director or actor. One must have that psychological insight, that intuitive- ness, which enables one not only to read the thoughts of another, but to see his possibilities. If I want to act the part of an Irishman I’ve got to know him well. I must study his make-up mentally, talk as he does, absorb his mannerisms, smoke, eat, drink as he would. I’ve been an Irishman for six weeks at a time and hugely enjoyed it. Bill Hart has cultivated this trait for years— there is not much variation to his plays, but his characters ! He’s lived every one. Why does he have such tremendous appeal? It’s his sincerity. You cant be an actor and just act a thing. You have got to live and feel it. Bill Hart comes into a room in that sincere, loving fash- ion, just like a big, clumsy, lumbering Newfoundland dog. It’s his helpless- ness in love that appeals to women, his strength in love that knocks the men flat, his childlikeness in love that makes the kiddies love him. He can put it right over on the screen. If you think right, it comes thru the camera. There are lots of things which will cover de- ficiency in stage productions, but on the screen you’ve got to feel and think right in order to make your work effective.” ‘‘How about directors? Might one not feel all this and still be hampered because made a mere puppet by a director?” ‘‘Nearly every director has some spe- cial talent. With one it is photography, with another handling of mobs, another revels in melodramatic effects. The ideal director has a sense of authorship, a sense of photography, he is a psycholo- gist, he is susceptible, resilient, plastic, and, above all, he is a true actor. To my mind, Mr. Griffith more nearly ap- proaches the ideal today than any living man. His great power lies in visualizing the entire production before he takes a single shot. As for me, I am able to visualize but the one important scene in which I am playing. From this I go on to the next, and so on. This makes re- stricted vision. Mr. Griffith is like the architect, who can even see the trees surrounding the beautiful building he has in mind. Naturally, then, he would make fewer mistakes in direction. He has the art of suggestion, leaving it to the audience to supply that which is not actually put on the screen. He under- stands the power of suspense. ‘‘For instance, in ‘The Great Love’ I liad but a negative part, that of the [Continued on page 80) ONDS rCHES The Loftis Solitaire Diamond Cluster Ring the Exact Appearance of a Large Handsome Solitaire That Would Cost Thro* or Four Times as Much. Send for Free Catalog There areover2000 illastra* tions of Diamonds, Watches. Jewelry, etc. Whatever yoa select will bo sent, all ship- ping charges prepaid. You See and Examine the Article Right in Your Own Hands If satisfied, pay one-fifth of purchase price and keep it: balance divided into eight equal amounts, payable monthly. Our Catalog shows all the new watches — 15, 17, 19, 21, 23 Jewels, adjusted. Guar- anteed by the factory and further guaranteed by us. 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Y. P. S. — Make it $1.20, and we'll send two packs, or $2.00 and we’ll send four packs. Dont you want a pack for yourself? They're worth every bit of 75c a pack! A Pearl in the Rough- hand-colored, but even the color didn’t hide my acting. They had me in crino- lines. Shall I ever forget ? I’m no bonehead trying to kid myself. When I get into a drama a lot of extra hands and feet sprout out all over me, and I dont know what to do with them. I either overact all over the place, or I stand still and they push me around like a tea-wagon. But, darn it ! I want to be an actress in spite of that.” “Are you going to try ?” we prompted. “Dunno,” said Miss White, thru the smoke. “The serial stuff, altho it is un- grateful, has its good points. Every- body knows me — in France, South America, Cuba — everywhere. I get let- ters from every conceivable place. A bagful, of stuff a week. I dont know why they keep up. You’d think all the people that intended to write would have written by this time and gotten over it. But the stuff keeps coming.” Miss White frankly admitted that no one had touched her popularity in se- rials. “Funny, too,” she philosophized, “I dont make it. Plenty of good people have tried. But they dont catch on. It’s mighty hard to pass somebody who is es- tablished in a certain type of work. You’ve got to be about four times as good as the original before the public Mull consider you. The girl that passes Mary Pickford will have to be half a dozen times as able. “Look at me,” continued Pearl. “I was on the stage before I tried pictures. Then I was canned by Lubin and I came to Pathe. The serial did the stunt for me and I’m famous. There you are.” “Dont you like fame?” we, asked. “Do I like to be famous?” repeated Miss White. “James, the smelling-salts ! Of course, it’s pretty nice. It’s all there is to life. People recognize you every- where you go. I have a couple of cars, and somebody has wished a country place on me, which I only rent, thank God ! Folks give dinners in my honor. I’m going to one at Sherry’s when I finish work tonight. I didn’t know I’d have to work tonight when the dinner was planned. But if a man wants to spend money, I wouldn’t disappoint the rest. Besides, I’ll get there before they adjourn.” Pearl paused. Another cigaret was borrowed. Likewise some matches. Just the shade of seriousness puckered the White eyebrows. “The thing you’ve got to watch out for is going broke when you’re old. Look at all the people that go down and out at the finish. The man who built my country place is blind now and penniless. That’s terrible !” We talked of many things, finally of marriage. “Look at all the flivvers,” said Miss White. “No wedding-bells for Pearl. You cant do it in the movies. I know how tired I am when I get home after periling all day. I’d pick a fight with St. Peter. No, it cant be did.” Miss White casually mentioned that she never — well, hardly ever — went to MOTION PICTURE ■{Continued from page 17) the movies to see herself. “I used to try ; it and drag along some friends,” she said, “Then they’d trot out the worst episode of the whole serial, and I’d re- solve never to go again. Now I stick to my resolution. What’s the use ? I know I’m not acting.” Then Miss White made a genuine con- fession. There is a chance that she may leave Pathe. She may do one more serial for them — and she may not. But one thing she swore to, she’d like to drive a war ambulance. “I know it’s taking a chance with pub- lic favor and all that,” said Miss White, “and I know how hard it is to come back. But the darn thing attracts me.” Which rather sums up this Pearl in the rough. A good sort, not trying to pose, frankly not interested in much of; anything, , not really understanding her own popularity, yet accepting it without' question and yet wondering how long the fates will be kind. In parting. Miss White tried to give us some letters from her admirers. When we protested, she inquired, “Say,; what’s your mission in life, anyway?” Which quite left us speechless. While we tried to look into Pearl’s laughing' eyes and moralize upon our lifelong pur- pose, Miss White added, “I mean, what are you here for, an interview?” n We admitted the accusation. “How’d I know?” said Pearl, plaintively. “If you can make up something out of the stuff I’ve told you, you’re going some.” jjl Then, departing down the studio stairs we heard Pearl inquiring of some one ir the distance; 1 “Have youse got a cigaret?” J! Sessue of the Samurai {Continued from page 68) conversation he is American to thi finger-tips, but one always feels that It Hayakawa there is the soul of somi stern old Samurai, who has returned t( earth and got into the body of a ver; up-to-date young man of fashion by mis take. One always feels that this hand some, attractive young clubman is reach ing back into dim mysteries of an ol< philosophy that we wot not of. I se him in spiflFy neckties and vest-chains with golf-sticks poking out of the ton neau of his car, but beyond I see ol Samurai temples and queer Samurj swords, strange aromas of Oriental per fumes. Hayakawa is modern Japan. He is th proud old Samurai caste in patent leathe shoes and spats. The spirit of the old Japan which ra« death with a contemptuous smile an killed any one who touched its sword, j But the manners and thoughts of moc ern America. We think we have taught them a lor! but they call upon life forces of whieW we know nothing. a A very interesting and charniinE young man — this actor, sailor, philo?(I[ pher — Hayakawa. I ( Seventy-two) LASSIC ame Found Her in the Subway {Continued from page 42) “In the first production I was a West- rn girl. Between my engagement and lat picture I had been on a horse once. 1 the opening scene I was given a lively ttle terror to ride. I ‘mounted bravely Plough, for now that I had bluffed so ir, I just simply had to see it thru. The orse started down the road on a mad :amper, bearing me with him. Nothing ut determination preserved the friendly Nations between us. The country road ;retched far away in a long, innocent me. Perhaps my companion would stop ) view the scenery before we reached le end of it. We were approaching a ood with a dug-out on one side. The orse suddenly decided that it looked ooler there than it did on the main road nd made for the trees, dug-out and all. t didn’t take him long to cover the round, but I had time to swallow my eart three times before I felt the ranches of the trees brushing my hair, .s I struggled for strength to send it pon its fourth downward journey, the lorse stopped abruptly, as much as to !iy: ‘Pretty spot, isn’t it?’ I “Just then other members of the com- any rode up and congratulated me upon ly riding. Were they making fun of le, or didn’t they really know ? I lanced hurriedly around the group, ure enough, they were all in earnest. |hey had mistaken sticking for riding.” I “but, of course, when you once got Dur start the going was easy, wasn’t it ?” “Not easy enough to make a popular pllad. My contract said I was to do 'latures. One day, after a new play had ';en cast, I found I was decidedly not le whole scenario. I. sought Mr. Gas- men “ ‘My contract says features,’ I told i,m. ‘Now I’m not complaining, but for le sake of the family can you enlighten ije just a little as to where I stand?’ j “And then he told me the truth. I had ]|)t had sufficient experience to do the mrts for which my contract called, and, |ther than spoil their productions, the ompany would pay my salary until the (f.piration of my contract and let me slay at home. I thought it over, and it (|dn’t take me long to see the light. I “‘I’d never get anywhere doing that,’ •Isaid. ‘I’ll play anything you want me 1, even to bits, until I make good and pu feel you can trust me with leads.’ ” Did .she make good? Well, the day I ret her she said she would try to make i!) for her delay in reaching screen suc- (ss by having tea with a real live scribe, he was all excitement, because the next urning she was to start her two-reel I'lthe features. i“In this day, when there are so many }jung picture players all trying to reach top, I think it is well for a girl to ipntify herself with a certain line of \prk. If I become successful as the tio-reel girl that will be something, 4nt it ?” I (Sevcntij-thrcc) 1 The Parisian Wife {Continued from page 58) From that night life became a night- mare thing to Martin Wesley’s Parisian wife. He moved his belongings into another room, and night after night the girl lay motionless in the cavernous bed, listening to the unending plaint of the fir-trees, watching the uneasy shadows writhing across the ceiling in an agony of wakefulness. It was Tony who explained very gently the monstrous words of Martin’s letter that came after a wreck’s absence in Boston, words that might have been written in vitriol on the quivering page of her heart. “I cant bear this any longer. It was a mis- take from the beginning and the sooner the ending comes the better. I’ve suffered this last month as I didn’t know a man could suffer — when I think of that pale gold head of yours on my breast — if I could only be certain, only know! But I cannot. You can get the divorce with the enclosed hotel bill for evidence. I pray God I may never see you again ’’ A poor, selfish, ignoble letter enough that seemed to flay the girl who listened, leaving the small oval face a-quiver with uncontrollable pain. The man, watch- ing, felt his muscles tauten with the primitive male desire to kill, but his voice was carefully casual. “Those stories of yours you showed me — do you know, I believe with a little help you could make good in New York. They’ve got what editors pray for every night on their knees, a perfectly fresh point of view.” Fauvette took the hotel bill that showed her husband’s name linked with a strange woman’s as tho it were some soiling thing and tore it to bits. Then she looked into Tony’s face and smiled a tortured, gallant smile. “I will go to New York, and I will succeed!” she said quietly. “But I shall need you to help me, mon ami.” A great wave of hope swept Tony Ray’s heart, but the eyes that met hers were brotherly. “Of course. I’ll help you !” he promised, matter-of-factly, and with the words he made a solemn vow in his own soul that there should be no bill rendered for whatever he did for her. It was necessary to remind himself sharply of this vow more than once in the months that followed. She was so helpless and alone, so perilously, unfairly beautiful. On the gala night when the Biggest Magazine accepted one of her stories, Tony took Fauvetfe to dine in a very splendid hotel, whose lights and music and flowers seemed to have been made as a background for the glowing youth and loveliness of her. From some in- scrutable woman-impulse, she had elected to wear the black tulle dress in which he had first seen her, and in spite of her new triumphs, her gray eyes were misty with memories. Seeing which he talked gaily and inconsequentially until {Continued on page 78) DRAWINGS WANTED By Magazines, Newspapers, Advertisers A good picture can tell a story better than i,ooo wordsi Pub- lishers and advertisers realize this fact, and they are clamoring for artists and offering big prices for pictures. Readers or maga- zines and newspapers deniand that they contain plenty of illus- trations, and publishers must supply that demand. There is a crying need all over the country for artists and their work. 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FHL IN THE COUPON. / Gibson Mandolin-Guitar Co.< 601 Jtfson$St..K8iainazoo,Mich.iU.S.H. g Write now for plained,” all free Address Be aura yeo have checked instrument. I jMOTION HICTUKl-. Cl.ASSI Billie Rhodes — Circus Girl (Coiifiiiucd from poijc 17) Well, an3'vvay, “1 love this circu-i at inosphere,” slie said. “It seems natura to me, someliow or otlier. Nc^ne of m people were ever connected with a civ CLis, nor, in fact,, with any other branc! of tlie profession, but I’ve been ‘on th go’ ever since I can remember, just th same. W'e used to move regularly twic a year. I’ve lived all over San Fran cisco.’’ She has si.\ brothers and three sister: all living. “You can imagine how much it re .sembled ‘the biggest show on earth every time we moved,’’ she added, laugh Her first moving ])icture was made i; • Vugust, 1913, by the Kaleni Compan) and was called “The Perils of the Sea. It was, she says, the first of the “nature pictures and was a drama. “And now,’’ she went on, “I’m goin; back to drama again. I’m glad, toe I’ve been doing comedies for so Ion that I’m sick to death of them. I wan heavy emotional roles, with perhaps i touch of comedy.’’ Just then there was a knock on th door. “We’re ready to shoot when you art Miss Rhode.s,’’ came cheerfully fnnn th other side. (This is a polite way telling a star to hurry up.) “All ready,’’ she answered. She had just had time to grab a hit of lunch while changing from one co.« tume’to another. On the way down stairs we talked about war posters an^ cartoons. Probably it is the “trouper in her which makes her so interested i these things and in the ballet school sh is attending “for fun.” Oh, yes, she is taking French. Her eyes and hair are brown, she i about five feet tall, and all of her ges tures are (juick and ini[)ulsive. The last I saw of her she was stanc ing in front of the tent bidding a tearfi’ farewell to the clown, while from tlr ’cello and hand-organ iloated the strair. of Tosti’s “Good-by.” In the springtime of her youth Billi Rhodes has deserted two-reel comedk and become a star. The Hope Chest (CoHliiiiied from payc 65) here on Long Island. I shall be happy- and — I’ll wait — I promise you.” Sheila waited. Waited thru at lea two dozen perfervid proposals froi Stoughton L.ounsberry — waited moi than one red moon — -waited, and nevi despaired. And at last he came . . not Tom . . . but the man he had come. “I’ve come, Sheila,” was all he said i her, but it was enough. “Yes, you have,” she told him, givir him her eager lips again, and he nev knew what she meant when she adde "for the first time — Tom ...” (Seventy- four) Cornet Mandolin Banjo Cello Trombone Flute Ukelele Sight Singing Piano Organ Violin Guitar Piccolo Clarinet Saxophone LEARN MUSIC AT HOME H. S. Whittmack, New York, writes: “I compliment you on your wonderful system. Did not know one note from an- other, but in a short time have mastered the piano and am now composing music,” Louise Bowles, Epworth, Va., writes: “Received my teach- er’s certificate. I highly rec- ommend your school and wouldn’t take anything for the help it has given me." C. _ N. Pitts, Macon, Ga., writes: “Have completed your course on violin — now have 15 students.” ( Seventy -five) Music no longer difficult I Learn to play your favorite in- strument by note in a few short months — without a teacher at your elbow. New method. Easier than private teacher way. More than 200,000 men and women have learned by our simplified home study method. You too can brighten your life with the ability to play. Write today for free book and particulars of free lessons offer. LESSONS FREE We want to have one pupil in each locality at once to help advertise our home study method. 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We compose music, secure copyright and submit copies to leading publishers. Submit poems now — examination free. Broadway Studios, 107D Fitzgerald Bldg., Broadway at 43rd Street, N. 'sb. 17f 17 Hawaiian Guitar, Violin, Man- dolin. Guitar. Cornet or Banjo ■.Wonderful new system of teaching note music by mail. To first pupils in each locality, we’ll give a $20 superb Violin. Maodoliu, Ukulele, Guitar, Hawaiian Guitar, Cornet or Banjo absolutely free. Very small charge for lessons onlyexpense. We guarantee success or no charge. Complete outfit free. Write at once — no obligation. SlIKCESLAjlD SCHOOL OF MUSIC, Dept. 404. CHICAGO, ILL. THERE’S ONLY ONE WAY TO SECURE A SATIN SKIN T APPLY SATIN SKIN CREAM, THEN SATIN SKIN POWDER. MOTION PICTURE CLASSIC Send Them This Gift Card tlMinillliniMMIIIMHIIIMIttinilllNIMIIIIIIMIIIMIIIIIIMinillMirMllllllintlllllMllltllMIIIIII uMiMiMiiiHitiiiiimiiiiMiiiiitmniiiiiiiiniiiiiiiiiiiiiiniiiimiiiMmiiiiiiiiMiiiiiiuiiuiini A Twelve Times Christmas Gift In One This is a time when you cannot be too painstaking in selecting a gift for a relative or friend. It should be something useful, something in which he or she is interested and something that will bring pleasure* to the receiver — not only one day, but many days to come. Can you think of a Christmas present that will be more appro- priate for your brother or sister, friend or relative, father or mother, husband or wife, sweetheart or soldier boy, than a year’s subscrip- tion to the Motion Picture Magazine or Motion Picture Classic? Everyone is now interested in Motion Pictures, and everyone attends Motion Picture Theaters, and anyone will highly prize the present of a subscription to either one of these great magazines for Christmas. Twelve times — not once — it will come to them, a reminder of you and your thoughtfulness at Christmastide. Beautiful Gift Card Free With each subscription we will supply free a beautiful gift card to be sent to the receiver of the gift, on the date you name. To whom shall we send the magazine and gift card for you? All that you have to do is to fill out the attached coupon and meiil with proper remittance and full instructions. We will follow these instructions care- fully and promptly. Better send in your order now before the Christmas rush and Christmas is very near. . JV]. p. PUBLISHING CO. CHRISTMAS HANDS. ACROSS THE SCREEN j p KNOW you are beir^g deluged with bills, carpet -slip' • pers ^or jeweled hat pins) It's Christmas-tide.- I want t’ the tide to set only one way - 'your' way. and so 1 am •' sending you a pre.scnt vsiih my blessbg and my Christmas p- handshake. It's in your-mail-MOJION , PICTURE ' It’s yours for ' coming hx>nth5. Christmas Motion Picture Magazine one Year Motion Picture Classic one Year Both M. P. PUBLISHING CO. 175 Duf field St., Brooklyn, N, Y. Gift Coupon u. s. Canada Foreign $2.00 $2.40 $3.00 2.00 2.40 3.00 3.50 4.30 5.50 Gentlemen: — Kindly send the Magazine Classic for one year to Enclosed find $ in payment. Name Address The Man Who Is Never Himself {Continued from page 71) smug, self-satisfied clergyman. Could anything be more negative than self- satisfaction? That very setting fur- nished a big background for the other characters, tho one might say it was a small part compared with others as- signed to me by Mr. Griffith. It is in this very exploitation of the negative and positive characterizations that Mr. Griffith excels. When I act with some of the other directors, I may suggest, or I may assume more, but with him I feel that the entire responsibility rests with him and I am glad to leave the big issues in his hands. He confers with us all, we interchange opinions, but first and last he is our director. “And yet we are but on the threshold of picture-making. Even in spite of the fact that we have witnessed superb pro- ductions. The director is the real power behind the throne, and it is he who must unfold possibilities of the films. It is not humanly possible for any man to be a good actor one day and a director with a reputation on the next. Time, expe- rience, wide reading, travel — all these things are needed in addition to the help > given by an art director. That is why I believe very young actors make a great , mistake to jump into direction. They lack the assets. Today the fault lies not : with the audience or the story — it is ; faulty direction.” But the man who is never himself doesn’t want to be a director. He would ! rather , hVe a thousand characters than i direct their moves thru the megaphone. . Have a Hart 1 {Continued from page 32) As he is real, so is he all-embracing, tolerant and wise. One knows that he would be square. One feels that he would be just. Nor is he the radical, believing, as he does, with a faith at once simple and strong in the biblical God of his fathers. He told me that the role of an atheist he once played was the hard- est thing he was ever called upon to do, because neither his heart nor his sin- cerity were in it. I call to mind words written about a totally different type of man — “A deal of Ariel, just a streak of Puck, much Antony, of Hamlet most of all, and something of the Shorter Catechist.” They are hardly applicable, with the ex- ception of the last — “and something of the Shorter Catechist.” He calls to mind an olden day while taking on the vest- ments and the manners — and certainly the profession — of Today. He is the im- possible meeting of the East and West. He is Blue Blazes Rawdon and Riddle Gawne and likewise Mr. Hart, Hotel Astor, New York (in which role, per- fectly taken, I saw him). He is the strong man in whose very tenderness lies the greatest portion of his strength. (Eighty) J5he f Hand of Blackton on March 12, 1896, drew this sketch of Thos. A. Edison during an interview with the great wizard. The subject of the interview was the wonderful new invention known as “The Edison Vitascope”. Blackton, the young newspaper artist, wrote the article and illustrated it with pen and ink sketches. It was the beginning of the history of Motion Pictures. Shortly after that historic interview J. Stuart Blackton turned his knowledge of things artistic into the making of “Pictures that lived and moved upon the screen” and Hand of Blackton'’ has, since 1897, wielded a potent influence in the Photoplay Industry. “The Common Cause,” latest of the Blackton Productions, is now showing in all prominent theatres. It is a ‘‘‘‘different kind" of a War Story. It depicts the Human, Wholesome, Cheerful side of the Great Conflict. It carries a Punch, a Laugh, a Thrill or a Heart-Throb in every one of its Seven Thousand feet of Film. And like the “Battle Cry of Peace", “Womanhood", “Safe for Democracy" and other famous Photoplays reflecting “The Hand of Blackton" it carries a message to the People of the Allied Nations and a warning to their Enemies. The world’s Common Cause is the New Democracy of Courage — the new tie of Common Blood, shed for that Common Cause on a Common Battleground. The Sons of Freedom, be they American, British, French, Italian or any other Nationality, go into Battle, and to Death; “Singing and Smiling”, content to give their all, that the Monument of Victory may be finally raised as their Tribute to the Common Cause. These, the Allied Fighting Men — the “Doughboy”, the “Devil-Dog” Marine, the “Tommy”, the “Poilu” — the Men who Fought the War and Finished it, are living, breathing characters in J. STUART BLACKTON’S latest screen masterpiece ‘‘The Common Cause” Pictures with the mark of “Blackton" are worth while. BLACKTON PRODUCTIONS, Inc. Studios, 423 Classon Avenue Brooklyn, N. Y, 25 West 45th Street New York City (Eighty-one) 6,003 Burlingtons M the U. S. Navy— A WATCH has to be made of sturdy stuff in order to “make good” on a man-of-war. The constant vibration, the extreme heat in the boiler rooms, the cold salt air and the change of climate from the Arctic to the Tropical are the most severe tests on a watch. If a watch will stand up and give active service aboard a man-of-war, it’ll stand up anywhere. 6003 Burlingtons have been sold to the men aboard the U. S. battleships. Practically every vessel in the U. S. Navy has a Burlington aboard. Some have over 100 Burlingtons. The victory of the Burlington in the U. S. Navy is testimony to Burlington superiority. 21 -Jewel Burlington Xf^ame. Address.. A Month And yet you may get a 21-jewel Burlington for only $2.50 a month. Truly it is the master watch. 21 ruby and sapphire jewels, adjusted to the second, temperature, isochronism and positions. Fitted at the factory in a gold strata case, warranted for 25 years. All the newest cases are yours to choose from. You pay only the rock- bottom- direct -price — positively the exact piice that the wholesale dealer would have to pay. T", "J \* , t You don’t pay a cent to anybody until you see the watch. Ws / £ §11^ C/ ^ ship the watch to you on approval. You are the sole judge. No If t \J v e obligation to buy merely because you get the watch on approval. Write for Booklet! Put your name and address in the coupon or on a letter or post card now and get your Burlington Watch book free and prepaid. You will know a lot more about watch buy- ing when you read it. Too, you will see handsome illus- trations in full color of all the newest cases from which you have to choose. The booklet is free. Merely send your name and address on the coupon. Burlington Watch Company, 19th St. & Marshall Blvd., Dept. 1551, Chicago, IlL Burlington Watch Co., Dept; 1551, 19th Street & Marshall Blvd., Chicago, llh Please send me (without obligations and prepaid) your free book on watches with full explanation of your cash or $2.50 a month offer on the Burlington Watch. (Eighty-two) More Shells — Fewer Casualties Back of every war activity lies^ — coal. Ships, shells, guns, transportation. For all these we must have — coal. The more coal, the more shells with which to destroy the ma- chine-gun nests of our enemies — and thereby save the lives of our own boys. The larger the supply of coal — the shorter the war and fewer casualties. Our a7mual output of coal has m- creased a hundred ntillion tons since we went into the war, while no other nation has even beeyi able to matntatn its output during the war. Another fifty million badly needed tons can be saved — to help shorten the war. Save coal. Close up the unused rooms and turn off the heat. Put on storm doors and windows — put them on early. See to it that the weather strips fit. Don’t heat your home above 68°. A higher temperature is un- healthy, anyway. Burn wood where you can. Keep an eye on the furnace — don’t leave it all to “the man.” If you feel that one shovelful of coal won’t make any difference — think of it as a shell for the hoys over there. If you find yourself burning two lights when one will do — turn one out. You, who have bought bonds and thrift stamps, you who. have given of your money for war charities, given until you have felt the pinch, you whose sons and neighbors’ sons are over there, will you not give up, too, just a bit of lazy, enervating comfort to help hurry along the job those brave boys have tackled? Save light and heat, save coal. To learn to operate your furnace efficiently, get from your local fuel administrator a leaflet entitled '‘'‘Save Coal in the Home.” UNITED STATES FUEL ADMINISTRATION Contributed Through Division of Advertising United States Gov’t Comm, on Public Information This space coni', ifnUed by The Publishers of Motio'^ . Picture Magazine YKNU To l»«v» yomr fimriinrr “Mad^ Like New” lo«k to tho “LyknuMaid’ L S H CAVE yourself the double work of going ^ over your furniture a second time when polishing — once with a dampened cloth and then with a dry one. Use Lyknu — the “one cloth’’ polish. Only a single cloth — only a single opera- tion— is necessary, because Lyknu cleans, polishes and dries at the same time and within twenty seconds. Lyknu adds nothing to the surface but a polish — no grease, no oil, no gum. no waxy substance of any kind. Lyknu removes the sticky dust-collecting coating de- posited on your furniture by ordinary polishes and re- stores the first, fine, lustrous finish it had when bought — a finish that cannot be im- proved upon — just like new. Try Lyknu today! If your dealer does not carry it, send 25c for bottlf^ mailed prepaid. LYKNU POLISH MANUFACTURING CO., PITTSBURGH, PA. ^ RE/lBEF- CL/VRA' l^WBAL s-i' jIx mottxr-ton^e cf America's millions “ the moaern motion picture. jf^^iABEL crumbles before the motion picture screen. “A uni- i-Pj versal language,” said President Wilson. The language of the eye and the soul. And the Famous Players-Lasky Corp. has taken this universal language and placed it on a plane where it enriches the life of the whole nation with a perpetual new joy. This season, for example, the Famous Players-Lasky Corporation is giving to America even finer pictures— pic- tures attuned to the spirit of the time — 208 Paramount and Artcraft Pic- tures generously laden with the joy of living, with romance and adven- ture, with song and laughter, fun and frolic, rare entertainment for high hearts. It is the emotions that are the uni- versal language, and it is the emotions that the motion picture speaks and sings to, whether it be the emotional deeps of patriotism or the dancing shal- lows of merriment. Paramount and Artcraft touch the deepest chords in you/ Such is the power of “Foremost stars, superbly directed in clean pictures.” ^aramouivl<^CiHx:ixi^ jHotion ^ictur&s ^ Verify for yourself wherever you see these trade-marks, the trade-marks of "the universal language. " FAMOUS PlAYERS-LASRY CORFOSATION ADOLPH ZUKOR Pres, JESSE L.lASKY V/cePres. CECIL B.DE MIUE director qeneral • YORIO g © FOREMOST STARS. SUPERBLY DIRECTED, IN CLEAN fv^OTION PICTURES XT ERE are the latest productions of Paramount and Artcraft Stars, listed alphabetically, released up to January 1. Save this list. Check the ones you have seen and ask your theatre man- ager when the others are coming. Cecil B. de Mille’s Production “The Squaw Man” Douglas Fairbanks in “Arizona” Elsie Ferguson in "Under THE Greenwood Tree’’ D. W. Griffith’s “The Greatest Thing in Life” William S. Hart in “Branding Broadway’’ Paramount- Artcraft Specials Maurice Tourneur’s Production “Sporting Life ” ^aramoiuit Enid Bennett in “Fuss AND Feathers” Marguerite Clark in ‘“Three Men and a Girl” Ethel Clayton in “The Mystery Girl’’ Dorothy Dalton in “Quicksand” Dorothy Gish in “The Hope Chest" Shirley Mason and Ernest Truex in “Goodbye Bill!" (A John Emerioa-Anita Loos Production) Charles Ray in “String Beans” Wallace Reid in “Too Many Millions” Bryant Washburn in “The Way of a Man with a Maid” FRANK CHANNING HADDOCK $300,000 a Year Paid by Business Men For His Money-Making Advice ONE hundred thousand people are paying this enormous sum for the help and advice of Prof. Frank Channing Haddock, a scientist whose name ranks with such famous men- tal-culturists and psychologists as Bergson, James and Royce. As a result of his help, these people are increasing their earnings by leaps and bounds. Here are a few instances: One man writes that a single day’s study of Prof. Haddock’s advice netted him $300. Another man says that, after reading Prof. Haddock’s helps, his first week’s profit was $897. A third man was helped to close a $2,000 deal which had been hanging fire for months. Still another man increased his sales from $200 a week to $7,500 a week. Another remarkable case is that of the young man who increased his earn- ings from $25 a week to $1,000 a. week as a result of Prof. Haddock’s advice. And what sort of help does Frank Chan- ning Fladdock prescribe? He simply teaches men how to increase their will power. He maintains that the one out- standing weakness in every failure and in every partially successful man is a weak will power. He claims that, through dis- use, our will power has become dormant to such an extent that when we want to use it we are unable to. It is just like a hinge that has grown rusty from lack of use — it won’t swing when you want it to, even though that is its natifral function. Undoubtedly there are tens of thousands of men, who have every faculty necessary to success, yet who do not succeed. They plod along year after year earning but a bare existence. There are other men with no greater knowledge of business affairs, with no greater advantages of education, with no greater desire to win success, who become wealthy. Prof. Haddock states that the difference between the successful man and the aver- age man can be measured by the difference in their will power. Two men may have a million dollar idea. One man has the will power to put his idea across and the other _ hasn’t. The brain capacity of each man is the same. One man has the force of mind to capitalize to the fullest extent what he knows, while the other is timid, afraid, lacking in self-confidence. Is it any wonder that thousands of peo- ple _ every year ask for Prof. Haddock’s advice on how to increase and capitalize their will power? The secret of success is no secret at all — it is a knack. Once you learn the knack of turning all your efforts into money, your fortune is assured. And that knack is inter- preted by thousands of people as Will Power. Money is being made in practically every business lon the face of the earth. Some- body is making it. You see it all around you. There is money in your business. If not, why do you stay in it? Isn’t it because you are afraid — you haven’t the will power to “take a chance” by changing jobs? It is most probable, however, that there is money in the business in which you are f Three) engaged. But you are carrying out the will-power of others. You are making someone else wealthy, someone with more will power than you possess ! Every year you learn more about your wbrk, and you earn a few dollars more per week, but what does it amount to? What will you be earn- ing five years from now, if you don’t do something startling with your brain? Hundreds of thousands have found that their will power is their one weak spot — is the one thing that had been holding them back. It may very likely be the one thing that is holding you back. Isn’t it worth finding out, particularly at this try- ing time when only the men with strong dominating wills are able to forge ahead? Prof. Haddock, after twenty years of re- search and study, has prepared a series of rules, lessons and exercises which are sci- entifically designed to develop the brain faculty called will power. These rules, lessons and exercises do for your will what physical exercises do for your muscles. They are mental gymnastics, yet they are amazingly simple and easy to perform. The very first day you begin to feel like a new being. There is a new light in your eye. There is a new determination in your soul. You feel that success is just within your reach and you are going to get it. You begin to look upon life from an en- tirely different angle. Obstacles that looked like mountains begin to look like tiny mole- hills. These rules, lessons and exercises in in- creasing your will power, prepared by Prof. Frank Channing Haddock have been placed in book form by the Pelton Publish- ing Company. I am authorized to say that you need send no money in advance — that you may examine the book for five days free. In other words, if after five days reading, you do not feel that this book is worth $3, the sum asked, return it and you will owe nothing. When you receive your book for examination I suggest that you first read the articles on: the law of great thinking; how to develop analytical power; how to perfectly concentrate on any subject; how to guard against errors in thought; how to drive from the mind un- welcome thoughts; how to develop fear- lessness; how to use the mind in sickness; how to acquire a dominating personality. Some few doubters will scoff at the idea of will power being the fountainhead of wealth, position and everything we are striving for. But the great mass of intelli- gent men and women will at least investi- gate for themselves by sending for the book at the publisher’s risk. I am sure that any book that has done for thousands — what “Power of Will” has done — is well worth investigating. It is interesting to note that among the 250,000 owners of “Power of Will” are such prominent men as Supreme Court Justice Parker; Wu Ting Fang, Ex- U. S. Chinese Ambassador; Lieut. -Gov. McKelvie, of Nebraska; Assistant Post- master-General Britt; General Manager Christeson, of Wells-Fargo Express Co.; E. St. Elmo Lewis; Governor Arthur Cap- per, of Kansas, and thousands of others. In fact, today “Power of Will” is just as important, and as necessary to a man’s or woman’s equipment for success, as a dic- tionary. To try to succeed without Power of Will is like trying to do business with- out a telephone. ^ As your first step in will training, I sug- gest immediate action in this matter before you. It is not even necessary to write a letter. Use the form below, if you prefer, address- ing it to the Pelton Publishing Company, 43-S Wilcox Block, Meriden, Conn., and the book will come by return mail. This one act may mean the turning point of your life, as it has meant to so many others. You hold in your hand, this very minute, the beginning of a new era in your life. Over a million dollars has been paid by readers of “Power of Will” who sent for it on free examination. Can you, in justice to yourself, hesitate about sending in the coupon? Gan you doubt, blindly, when you can see, without a penny deposit, this won- der-book that has won fortunes for so many readers and for which a million dol- lars has already been paid? The cost of paper, printing and binding have almost doubled during the past three years, in spite of which “Power of Will” has not been increased in price. The pub- lisher feels that so great a work should be kept as low-priced as possible, but in view of the enormous increase in the cost of every manufacturing item, the present edi- tion will be the last sold at the present price. The next edition will cost more. I urge you to send in the coupon now. PELTON PUBLISHING CO. 43-S Wilcox Block Meriden, Conn* PELTON PUBUSHING CO. 43'S Wilcox Block, Meriden, Conn. I will examine a copy of ‘‘Power of Will” at your risk. I agree to remit $3 or remail the book in 5 days. Name Address City State 1^' Vol. Vll FEBRUARY, 1919 No. 6 The MARCH CLASSIC Important Features: CHARLIE CHAPLIN . An intimate, human story with the world’s greatest comedian ; the sort of chat that leaves you feeling that you yourself have talked with the star. WALTER McGRAIL The popular Vitagraph leading man has been chatted enter- tainingly for the March Classic. You will hnd him as likeable in real life as he is on the screen. MITCHELL LEWIS The famous ’Poleon of Rex Beach’s “The Barrier” has jus*: been promoted to stardom. Film fans will be decidedly interc-ote" in Mitchell, who has made a name for himself in vigorous character roles. CONRAD NAGEL Coming rapidly into screen prominence is Conrad Nagel, who has just scored on Broadway in Alice Brady’s stage hit, “For- ever After.” But the films are winning Nagel rapidly from the footlights. These are a few of the bright things of the March Classic. Among the month’s fictionized photoplays will be Clara Kimball Young’s “Cheating Cheaters,” a bully mystery-crook drama. The cover will be a striking painting of Theda Bara. THE MOTION PICTURE CLASSIC 175 Duffield Street, Brookljm, N. Y. THE GIRL ON THE COVER {Painted hy Leo Sielke) Clara Kimball Young has been a screen celebrity since she burst into prominence with her Anne Boleyn in graph’s “Cardinal Wolsey,” back in the film’s palmy days. Both her mother and father were players, and Clara had turned naturally to the footlights. She started as a child and finally reached Broadway in 1911. A chance photograph shown to J. Stuart Blackton resulted in Miss Young being engaged by Vitagraph. Her subsequent success was meteoric. Gallery of Popular Players. Rotogravure studies of Betty page Carpenter, Dorothy Dalton, Bessie Love, Mae Marsh ii ic and Anna Case 11-la Keeping That Appointment with Theda Bara. Tea with the famous vampire star ’midst incense and Oriental r- • r hangings Frederick James Smith lo A Fool of Fortune. Anthony Paul Kelly and his adven- , ,0 turous career Barbara Beach lo Sliding Down the Banisters to Success. Marjorie Rambeau , „„ and her odd career C. Blythe Sherwood JO The Interesting Life. Warner Oland leads it off the „ . Janet Service JJ Temperance Drove Him to the Movies. The story of Maxwell Karger, Aletro’s director of productions Charles Jameson Mae Murray Makes Believe. A charming chat with the „ .,r little star Alice Bennett za She’s Cornered the Laugh Market. Who? No other than Mrs. Charlie Chaplin • The Return of Florence Turner. The famous Vitagraph , , 90 girl’’ is back in the films Elizabeth Peltret Z8 A Twentieth Century Priscilla. Interviewing the piquant ^ madcap. Miss Dean Fritzi Remont dO The Strenuous Monroe Doctrine. Salisbury loves the Great Outdoors The Heart of Wetona. Norma Talmadge s latest photo- ^ ^ „ olay told in story form _• Faith Service 33 S<-arward, Ho! In six months Faire Binney has estab- . „ ■'i.hed herself in the films Fah/t Service 36 7' Good Old Golden Rule Days. School excitement af 'l.e Sennett studios And He Wants to Be a Playwright! Dick Barthelmess ^ , -in longs .c Gash off the Great American Play Mary Keane Taylor 39 Fame Via Matrimony. The romance of Florence Vidor Olive Larew 41 Good Gracious, Annabelle! Billie Burke’s charming new photoplay fictionized Frederick Russell 43 Glorious Gloria. Otherwise Miss Swanson The Mid-Theatrical Season. New photographs of the sue- cessful stage plays and players .... J-"}' cLVfi, >^0 The Celluloid Critic. The new photoplays in review.. .Frederick Janies i,niitn ou “Big Bill’’ Duncan. Characteristic glimpses of the virile Maggie Pepper. Fictionized from Ethel Clayton s latest „ photoplay • . • • • • • • • • - -Dorothy Donnell 53 The Extra Girl Invades a Mimic Boardmg House. A Gladys Leslie picture in the filming Ethel Rosemon 56 Double Exposures. Humorous comments on the p j ^. 58 gossTp° of the Pacific Coast: 75 The Movie Encyclopedia F/ig Answer Man 75 Published monthly at /75 Duffield Street Brooklyn N. Y. ^^ advance, including postage in the U. S., Ctt^^. Mexico, and Philipp , „ , sEmns accepted in foreign countries, $3.00. Single copies, 20 cents postage ^‘^“Plddre^s Suhscrihers must notify us at once of any change of address, giving both old and new address. Entered at the Brooklyn, N. Y., Post Office as Second-class Matter. _ , Copyright, 1918, by the M. P. Publishing Co., in the United States and Great ®"tain a ^eiv York corporatio’n, with its principal offices at Bayshore, N. Y. Eugene V Brewster President J. Stuart Blackton, Vice-President; E. M. Heinemann, Secretary; Eleanor V. V. Brewster, ireasurer. STAFF FOR THE CLASSIC: Eugene V. Brewster, Managing Editor; Frederick Jam^ Smith, Literary . Dorothy^Dolell, Robert j! Shores, Edwin M. La Roche, Fritzi Remont m,™ Guy L. Harrington.. ■.■.■.■.■.■.■.■.■.■.■.■.V.AdvYtising Manager Duiman A. Dobie, Jr ....Western Manager '■ ' • ’• '• ■ - ■ • • • • • • • • • • - New England Manager MOTION PICTURE CLASSIC - - - 175 Duffield St., Brooklyn, N. Y. This magazine comes out on the 15th of every month. Its elder sister the Motion Picture Magazine, comes out on the first of every month. Both are on sale at all newsstands in the English-speaking world. (Four) THE AVALANCHE OF PORTRAITS HAS STARTED In The Motion Picture Classic and The Motion Picture Magazine’s Fame eind Fortune Contest Opening on December 1, the flood of portraits from contestants in the biggest contest ever con- ducted by The Motion Picture Classic and The Motion Picture Magazine has almost engulfed the judges. Every mail brings hundreds of pictures. In many instances, contestants are sending a half dozen portraits. No contest ever managed by any motion picture publication has ever attracted the interest of The Fame and Fortune Contest. Portraits are being entered from every corner of America. Remote towns, tiny hamlets, big cities are contributing their share. And pictures are beginning to come from distant parts of the globe. HAVE YOU ENTERED? Better submit your portrait at once and, if you are lucky, get in upon the honor roll, from which the final winner will be selected. Let us briefly outline the purpose of the contest once more : The two magazines will give two years’ guaranteed publicity to the winner. This will include cover portraits in colors, special interviews, pictures, special articles, etc. — the sort of publicity that could not be purchased at any price. The Motion Picture Classic and The Motion Picture Magazine will secure an initial position for the winner and other opportunities, if necessar3'. At the end of two years The Motion Picture Classic and The Motion Picture Magazine guarantee that the winner will be known thruout the civilized world. IMPORTANT— CONTEST NOW OPEN TO MEN After considering the hundreds of requests from men of all ages thruout the country, the judges and managers of The Fame and Fortune Contest have decided to throw the doors open to men. Men will be bound by the same rules that bind the feminine contestants. Any man who has not played promi- nent roles on the stage or screen may enter. Every one will have an equal chance. The managers of the contest are now considering the method of making the final award. It is possible that a first prize may be awarded to both a man and a woman. This will, however, be decided later, an announcement being made in both The Motion Picture Classic and The Motion Picture Magazine. THE JUDGES ARE NOW EXAMINING THE PORTRAITS The judges of The Fame and Fortune Contest are now going thru the thousands of pictures entered. Every fifteen days following December 1, the judges are to select the six best portraits entered during that period. These honor pictures will be published in subsequent numbers of The Motion Picture Classic and The Motion Picture Magazine. The duration of the contest will be announced shortly. Upon the closing of the contest the winner will be .se- lected. It is possible that three or four leaders may be chosen and invited to come to New York for test motion pic- tures, after which the final winner will be decided upon. JURY OF INTERNATIONAL NOTE The Fame and Fortune jury of judges includes; MARY PICKFORD MAURICE TOURNEUR THOMAS INCE Commodore J. STUART BLACKTON CECIL DE MILLE JAMES MONTGOMERY FLAGG HOWARD CHANDLER CHRISTY EUGENE V. BREWSTER 3. TERMS OF THE CONTEST Open to any young woman, or man, in the world, except those who have already played prominent screen or stage roles. Contestants must submit a portrait, upon the back of which must be pasted a coupon from either The Motion Picture Classic or The Motion Picture Magazine, or a similar coupon of their own making. Contestants can submit any number of portraits, but upon the back of each must be pasted an entrance coupon. CLASSIC ENTRANCE COUPON Contestant No (Not to be filled in by contestant) Name. Address (street) (city) (state) Previous stage or scrCen experience in detail, if any. When born Birthplace Eyes (color). Hair (color) Height Weight Complexion (Five) STOP! Look and Listen HERE IS THE BIG NEWS; You Are All Invited to a Surprise Party It will be held in the NEXT ISSUE of Motion Picture Magazine. No matter how interesting you have found the Maga- zine heretofore, in the March 1919 issue j'ou will be given the surprise of your lite. Put in your order for your party early; otherwise you are likely to get left, for Motion Picture Magazine is selling out so quickly these days we cant even keep copies for our own files. People have learnt that in no publication is there such up-to-the-moment news, such exclusive portraits of their screen favorites, such intimate personality stories of the celluloidic stars, as in Motion Picture Magazine. But even these wise ones will be surprised with the NEXT ISSUE. In the first place, you will enjoy a feature article on HOW LONG IS THE LIFE OF A STAR? This article contains the views of prac- tically every big person in the picture in- dustry as to the length of time a star can remain at the top notch of popular favor. Whatever you do, dont miss reading the opinions of Jesse Lasky, R. D. Rowland, Walter E. Green, Nazimova,_ Elsie Fer- guson, and many others, on this vitally in- teresting subject. And then we offer THE KITTY GORDON TREAT Miss Gordon, in especially posed photo- graphs, will give a veritable fashion show for your benefit in the next issue of the Magazine. For the first time you will meet the real CLARA KIMBALL YOUNG Every period of Miss Young s career and the complete life story of this favorite screenite will be told in unusual photo- graphs and interesting text. MARGERY WILSON Will have her story told to you, in the NEXT MAGAZINE, in a manner which is as charming as her own personality. This interview will be illustrated with some of the most beautiful photographs we have ever seen. These alone are worth getting and keeping for your scrapbook. And besides, there will be a complete ac- count of how night photography is accom- plished, an account of what Motion Pictures have done for the navy, and three choice fiction stories ; for the first time in screen history you will see your favorite posed with her mother. We have procured these precious pictures with great difficulty —dont miss seeing them. This is just a sample of the Surprise Party in store for you when you buy the March Motion Picture Magazine. Come early and avoid the rush. Other- wise you may miss out. The Motion Pic- ture Magazine is selling like hot cakes. So much so, in fact, that we are unable to supply the demand. MOTION PICTURE MAGAZINE, 175 Duffield Street, Brooklyn, N. Y. STAGE PLAYS THAT ARE WORTH WHILE (Readers in distant towns will do well to preserve this list for reference when these speaking plays appear in their vicinity.) Bijou. — “Sleeping Partners.” Piquant com- edy of the French boulevards before the war. Irene Bordoni delightful, while H. B. Warner contributes a deft comedy characterization. Prismatic farce. Central. — “^orever After.” Alice Brady in a play of youthful love which endures despite many obstacles. Excellently acted thruout. It charms its audience into living once again the violent joys and heart-aches of youth. Cohan & Harris. — “Three Faces East.” An- other Secret Service-German spy drama, this by Anthony Paul Kelly, one of our rnost successful photoplaywrights. The principal charm of this play is in trying to guess who are the German spies and who are the Allies, just as we were puzzled in “Cheating Cheaters” to know who were the burglars and who were not. Fulton. — “The Riddle: Woman,” with Ber- tha Kalich. Problem drama from the Danish. Ladies with “pasts,” a he-vampire and much emotionalism. Kalich gives a picturesque if artificial performance, while Chrystal Herne and A. E. Anson make the most of their roles. Eltinge. — “Under Orders,” another war drama, and a good one, altho only two actors are necessary to tell the story — Effie Shannon and Shelley Hull, who are both fine. Plenty of weeps, with a sprinkle of mirth. Hippodrome. — The newest production, “Everything,” lives up to its title. It is a rnaze of varied attractions, ranging from dainty Belle Storey to scores of remarkable roller skaters, from De Wolf Hopper to a stage full of tumbling Arabs. Lyceum. — “Daddies.” Appealing little drama of three bachelors who adopt Belgian war babies. Amusing complications occur when the children develop along unexpected lines. Jeanne Eagels is quaintly pleasing in the lead- ing role. Z-ynt:.— “The Unknown Purple.” Interesting and well sustained thriller. The story of a convict who discovers a way to make himself invisible, transforming into a purple ray, and who starts out to get revenge. The invisible man steals necklaces, opens safes and passes thru doors. Richard Bennett gives a vigorous performance of the human ray. Morosco. — “Remnant.” According to Hoyle, and some of the learned (?) critics (notably those of Times, Sun and Post) , this play will never, never do. Fortunately the public and the critics dont often agree. The repartee in this comedy sparkles like a Shaw or Wilde, in sentiment and romance it equals “The Cin- derella Man” and “Daddy Longlegs,” the humor in it rivals that of “Peg o’ My Heart,” it exceeds the joy spirit of “Pollyanna,” and the cast is as strong as any of these. Jt may not be perfect in construction, and it may lack atmosphere, and maybe Florence Nash’s mannerisms are not true to type (she is won- derful, nevertheless), but this play will charm and delight practically everybody but the critics. Playhouse.— “Home Again.” A highly en- tertaining comedy with lots of homey atmos- phere and old-fashioned rural characters, founded on the poems and stories of J. Whitcomb Riley. The cast is extremely strong from top to bottom and the story is engrossing. P/ymoiitfi.— “Redemption.” John Barrymore at his best in a remarkable piece of acting and a remarkable Tolstoi play. Sad, but big. Shubert. — “The Betrothal,” Maurice Mae- terlinck’s sequel to “The Blue Bird.” Superb production of a drama rife with poetic sym- bolism and imaginative insight. Remarkably beautiful series of stage pictures. Excellent cast, with Reginald Sheffield as Tyltyl. ON THE ROAD. “The Saving Grace.” Delightful English comedy by Haddon Chambers, brilliantly played by Cyril Maude as a cashiered British army officer trying to get back in the big war. Laura Hooe Crews admirable. CELECT your own x subject — love, patriotism — write what the heart dictate^ then submit your poem to us. We write the music and guarantee publish* er’s acceptance. Our leading composer is Mr. Leo Friedman one of America’s well-known musicians, the author of many song successes, such as Meet Me Tonight in Dreamland,’^ **Let Me Call You Sweetheart, **When I Dream of Old Erin** and others the sales of which ran into millions of copies. Send as many poema as you wish. Don't Delay* Get Busy— Quick. CHESTER MUSIC CO. Chicago, III. Conservative Investing There is no better means to con- servative investing than the Twenty Payment Plan How to utilize the plan to the best possible advantage in connection with securities that possess the greatest investment value and market-profit prospects, consistent with stability of principal, is currently outlined in our fortnightly publication “Investment Opportunities” This publication will be sent gratis upon request for 83-MA, including booklet ex- plaining QAe twenty Payment In Successful Operation for a Decade DON’T YOU LIKI My Eyelashes and Eyebrows You can have the same I.ASHNEEN, a hair food appU once each day, will absolutely produ thick and long eyebrows and eyelas es. Easy to apply — sure in results. Eas neen is an Oriental formula. One box all you will need. Not sold at druggis' — . Mailed on receipt of 25c coin and postage, or Canadian money order. EASHNEEN COMPANY Dept. 19-D Philadelphl THE RESURRECTONB trm)e/aark registered Get Rfd of that Nasal Twang on YOUR Phonograph This remarkable repro- ducer gives sounds their proper expression and rhythm. Its natural- ness and warmth of color makes the sound a true “resurrection" of the original. Applicable to any ma- chine. You'll be delighted with it. Send $10 if nickel plated, or $12.50 if gold plated, the RESURRECTONB will be sent postage paid. State make of instrument. Satisfaction guaranteed or money refunded. Hoffay Talking Machine Co.. Dept 10, 3 W. 29th St.. New York City (Six) MOTION PICTURE CLASSIC YOUR VOICE Wider Range— Clearer Tones O YOU wish to possess a sweeter, stronger and clearer voice with a wider range? And have complete control o£ your voice at all times? This is now possible by the latest scientific discovery, the Feucht- inger method. This method will improve your voice 100%. This is what it has already done for others. Simple, silent exercises — just a few minutes every day — you will be surprised at the daily improvement of your voice; imparts strength to the vocal organs and gives a sur- prising quality of richness to the tones. This course in voice training is given to you right in your home. It is endorsed by many well-known speakers and singers. No matter where you live, it is possible for you to secure this training on a most remarkable offer. Send the coupon for full particulars and proof of what it has done for others. Don’t delay the improve- ment of your voice. DO YOU STAMMER? “Head Over Heels,” with the saucy Mitzi as a delectable little vaudeville acrobat. En- tertaining with tuneful _ Jerome Kern music and the highly amusing Robert Emmett Keane. “Where Poppies Bloom.” Melodramatic war play of a woman who discovers that her husband is a Hun spy. Action takes place on the Flanders battle line. Marjorie Rambeau is very emotional in the star role. “Keep Her Smiling.” A typical Mr. and Mrs. Sidney Drew comedy. Mr. Drew does the cleverest bit of acting of his career, and alas! alack! the screen has probably lost for- ever one of its brightest stars. Mrs. Drew is more charming and “younger” than ever be- fore. “Fiddlers Three,” lively little operetta with considerable fun and much good music. Louise Groody scores as a captivating little ingenue and dancer, while the lanky Hal Skelly’s humor is amusing. Altogether a likeable en- tertainment. “Going Up.” A charming musical farce written around an aviator, with Frank Craven in an interesting role. The music is unusually bright and catchy. “The Passing Show of 1918.” One of the best of the Winter Garden shows. Pretty girls and stunning costumes. Among the features are the amusing Howard Brothers; that lively dancing team, Fred and Adele Astaire; and the laughable Dooley Brothers. “The Copperhead.” One of the big dra- matic successes of last winter, by Augustus Thomas. A drama that will live. “The Little Teacher.” A charming play, full of human interest, and played by a company every one of which makes a hit. Mary Ryan is excellent, as usual, and her support is un- usually good. “A Tailor Made Man.” An altogether capti- vating comedy full of laughs, built around a young tailor who became great thru reading the book of an unsuccessful author and who then hires the latter to work for him. “The Kiss Burglar.” One of the most charm- ing of musical-comedies. Pleasant music, dis- tinction of book and considerable humor. Above all the fascinating personality of Fay Bainter. Very pretty chorus. “Oh, Lady! Lady!!” Chic musical-comedy. Daintiness, .wit, a well-balanced, all-star cast and catchy music are the outstanding charm of this offering intime. “Parlor, Bedroom and Bath.” A roaring farce of the class of “Fair and Warmer,” “Twin Beds” and “Up Stairs and Down,” and about as funny and racy as any of them. “Flo-Flo.” This glorified burlesque caught Broadway last season. Sprinkle some catchy music between the gags, add a flashing chorus, season well with bold if not risque situations, and flavor with dazzling costumes and you have “Flo-Flo” ready to serve. The stars and support display well-modulated voices and some real honeymoon lingerie. “Maytime.” A dainty, touching comedy with music. It has a real plot, following the life of a young couple from youth to old age, in- terspersed with tuneful music and some danc- ing. “Tiger Rose.” An intense and very popular drama similar to “The Heart of Wetona,” in which Lenore Ulric plays the part of an Indian maiden who loves and swears charmingly. LEADING PICTURE THEATERS. Loew’s N. Y. and Loew’s American Roof. — Photoplays; first runs. Daily program. Rivoli — De Luxe photoplays, with full sym- phony orchestra. Weekly program. Rialto. — Photoplays supreme. Program changes every week. Strand. — Select first-run photoplays. Pro- gram changes every week. (Seven) The famous Perfect Voice Institute method is invaluable to those who stam- mer or lisp. A special course of training for those with an impediment in their speech has been prepared by a famous European director. It will give you command of muscles and cords which reproduce vocal sounds. You should not hesitate for one minute to secure this valuable training. It will give you the self-confidence so necessary to your business and social suc- cess. Write at once for full particulars. VOICES I^ESTORED Good Voices Made Better The Perfect Voice Institute has accomplished remark- able results with those who no longer have the clear- ness of tone and expression they once had. Imperfect voices are made perfect. All huskiness and harshness removed. The vocal organs strengthened and put under remarkable control by a perfectly natural method. It is not an experiment but a very decided success. Send for free book and special offer. Free Consul- tation Every person who is interested in voice is entitled to FREE consultation. Take your problems to Mr. Feuchtinger. WRITE him today. You can consult with this in- stitution at any time about your voice. This service is absolutely free. This is the only institution of its kind offering this service. Write us today and we will send full par- ticulars FREE. Free Book— Send Coupon Send the coupon today and get our free book and literature. Learn just what this famous method is and how it will give, you a perfect voice while you study right in your home. No mat- ter how helpless your case may seem the Perfect Voice Institute can improve your voice 100 per cent. Mail the coupon for this information. You will be under no obligation whatever. Act at once and learn about this very special offer. Perfect Voice Institute 1772 Wilson Ave., Studio 9552, CHICAGO Perfect Voice Institute Studio 9552 1772 Wilson Ave., Chicago Send me the book and facts about the Feuch- tinger Method. I have put _ X opposite subject that interests me most, r , „ n Singing L J Speaking [ ] Lisping [ ] Stammering 0 0 Name. Address. VOHEN ASTISTS NOWNEBSD! Leeirn At Home Women have shown their ability in every field entered. Now comes a tremendous demand for women artists. The Liberty Loan and other war campaigns have proved that pictures produce results. Merchants now fully realize this — and need women artists and illustrators to carry out their ideas. Learn By Mail By our new method of teaching by mail you can learn in your own home, in a few weeks, illustrating, caj-tooning and commercial art. Hundreds of successful pupils are now making splendid incomes. Get into this fascinating work yourself and earn $50 to $100 or more per weekl Have your own studio or secure high salaried position. Or work in spare time. Many students earn while they are learning! Artist’s Outfit Free A complete outfit free to all students. Includes every- thing required to produce hundreds of dollars worth of pic- tures. Here is your chance to develop your neglected talent and start yourself on the yoad to independence. Send Free Coupon for the most remarkable offer ever made by any recognized and reputable school of art. Special terms to a limited number of new students and complete Artist’s Outfit given Free. Fill out and mail the attached coupon and we will send you, at once, a beautiful Art Booklet filled with draw- ings and full particulars of our extraordinary offer. Do it now — before you turn the page. WASHINGTOX S C H O O I. OF AKT 1148 H Street, N. \V. Washington, D. C. ■ bbhbbbbbhbF ree Coupons mwMmmmmmmmmm Washington School of Art, 1142 H Street, N. W., Washington, D. C. Without any obligation on my part, please send me your Free Art Booklet and Special Free Drawing Outfit Offer with Reduced Terms to new students. Name . , Address BEAUTIFUL HAIR A new and successful method of growing the hair ha-s been discovered, which consists of penetrating the hair follicles with a special vitalizing hair serum, causing it to produce a new hair; the hair regrows as it was in youth — straight, wave or curl — and with a natural and beautiful lustre; testimonials and medical reprints. NATIONAL BIO-CHEMICAL LABORATORY, Knox Building, 5th av. (entrance 40th st.), suite 501. THERIE’S ONLY ONE WAY TO SECURE A SATIN SKIN APPLY SATIN SKIN CREAM, THEN SATIN SKIN POWDER. BoysandGiriSiC cieartneSKin witucu icura Dmeeiils; Soap, Ohitiiient Talcimi 25c. each. A Profession Within Your Grasp! With the Dawn of Peace Comes the Rise of New Opportunities The World War was waged against Kaisers and all Autocrats who suppressed the People’s Op- portunities. Opportunity was relegated to a Favored Class. The Favored Class has been abolished and today you and I stand on the Rim of a New Age. One look into the Agonized Face of the Victors tells us that the Supremacy of the Sword lies buried in the Ruins of the Old World which we have for- ever left behind. YOU and I — we are the People. And it is true that the people will rule henceforth. But whether or not it be You and I who shall rule is not left to Chance. For our fellows will permit none to rule who has not won his Crown 1 SO a new war is upon us — the War of Peace, the War of the Pen. And the Pen is Mightier than the Sword ! For the pen is Bloodless and every well-directed stroke means a new rivet in the Renaissance of Right. The Pen shall be the scepter of this New World that woke on Flanders Fields. The Pen shall bring the World’s Men to the World’s Market Places and leave to Unknown Failure the Mer- chant who does not Advertise. The Pen shall weigh and sway the Opinions of the People until they rock the sphere in the Cradle of the Press, and he who fails to read his Magazine or Newspaper will be blasted with Ignorance. The Pen will rouse the Sleeping Souls of Men to set Monumental Deeds over the graves of Dead Resolutions, and he who has not ears to hear the Voice of the People thru their Orators shall never see the Morning! The Pen shall skim the richness and sweetness of the World’s Glories in History, it shall bring the essence of Men’s Lives to be relieved in the Library, it shall enchain the tragedies and laughter that storm and sun the Human Soul, in an exquisite hour on a Curtained Stage, it shall last of all Sing the weary world to sleep by sweeping the strings of Poetic Fancy ! Hail to the Age of the Pen ! For the literary arts are the foundation of all the arts and sciences. Without them success in any under- taking is well nigh impossible. They are stepping- stones as well as independent professions. AMERICAN COLLEGE 310 Washington Avenue So, the time is ripe for the New Education to rise— The AMERICAN C OLLEGE OF LITERARY ARTS. This is the only institution in the World devoted solely to the Word and the Pen. It is consecrated to Opportunity and the People’s Need. It puts a Profession within the grasp of the Man Who Has Ears to Hear. HY bury a talent in the grime of a back- breaking, soul-rasping, mind-crushing job? This, to the Man or Woman who HAS a w talent ! M O EN and Women of Talent, we salute you ! We greet you with the Key to the Door of Opportunity in our hand. WE warn you, that the Door stands at the top of a high mountain which only diligent Study and honest Perseverance may hope to reach. We Keepers of the Gate are trustees only. Treas- ures lie within that none but True Knights of the Pen may lay hands on. WE are seeking Dreamers of Dreams, to be sure, but none shall pass out with the Seal of Ap- proval until we are convinced that he IS a Doer of Deeds. LD Schools have passed away, we offer you one born Yesterday breathing the New Spirit of the Age. Here is a School in the very midst of the Turmoil of Life. Here the Man and the Woman meet Masters, mind to mind and heart to heart, who have solved Life’s Problems in their Particular Profession. Here may study Students who never walked in Learned Halls, students who are gray with Age or grimed with Toil, students who commune with their Masters tho they dwell in Timbuctoo or Kokomo, students who are masters of all their time or who can garner a treasured hour a day. The A. C. L. A. plan fits the Student’s Mind and Ambition and ignores his or her physical, financial and social handicaps. IF YOU think you belong to the Ruling Class, it you can Dream Dreams and Do Deeds, if you can follow Opportunity over the rugged paths that lead to the Summit of Achievement, if you would like to peer into the Treasures the New Age holds for YOU, clip the Coupon below, and send it to us and we will send you a handsome Brochure of Inspiration called “The Open Door.’’ OF LITERARY ARTS BROOKLYN, N. Y. AMERICAN COLLEGE OF LITERARY ARTS, 310 Washington Ave., Brooklyn, N. Y. Sirs: I am interested in your announcement. Please send me your booklet “The Open Door’’ free, without any obligation on my part. Name Street City and State Date (Eight) Buy an Income Month by Month fiow Money Makes Money ' Few people realize the power of accumulated sav- ings— or capital. If you start in now to invest your savings wisely and con- tinue this practice, you can become financially inde- : pendent later on. 7% to 91^ 0 Small or large sums may be invested in Big and Growing American indus- tries to net 1^0 to 9% and more. In addition there are strong possibili- ties that your capital in- vested will be increased. The T en Payment Plan enables you to purchase the best and safest stocks upon a first payment of 20% and the balance in nine equal monthly sums. You secure dividends while making payments. For full details send for booklet P-2. E. M. Fuller & Co. Members of Consolidated Stock Exchange of N.Y. )0 Broad Street New York IPlay Piano in Une nour-iOc PIANO PLAViNa MADE .east ____ No teacher needed. Complete selt-instnictor. In Dne hour you can play an accompaniment to any isong TTiitten. _ This chart is invaluable to anyone iwishing to quickly become a piano player. After using a few times you can dispense with chart. 'Mailed with catalog of novelties for 10c, 2c postage. BOIAIi CHART CO., Dept. D, So. Norwalk, Conn. ' (Nine)' Own Your Own Stocks in a Year BEGIN TO-DAY Invest wisely. Obtain Growing Income. Buy only high-grade stocks paying substantial divi- dends. First payment 20^ of purchase price. Balance in equal monthly payments during year. Write to-day for Booklet “J/./’.’’ Francis & Co. Investment Securities Cor, Broadway and Wall St., New York City ] All of Your Favorites The group of 80 portraits Avhich we are now offering, with a year’s sub- scription to either the Motion Pic- ture Magazine or Motion Picture Classic is the most complete and most attractive of any similar offer ever made. Printed in rich, warm sepia tones by the famous rotogravure process, their appearance is one that will de- light you and your friends. More than that, they are just the right size to conveniently mount and frame. YOU CANT BUY THESE PICTURES These pictures are not for sale. They can only be obtained in connection with a subscription to the Magazine and Classic. Shall we reserve a set for you? Just fill in coupon and mail with remittance. YOUR FAVORITES ARE HERE^ Frances Nelson Marguerite Ceurtot Ruth Roland Annette Kellermann Fritzl Brunette % Mary Miles Mlnter \ Pearl White ^ Orml Hawley A \ EHwIn August • V Kitty Gordon ,1^ Lr. Quinn’s fa- mous Written Method Is endorsed by leading musicians and heads of State Conservatories. Successful 26 years. Play chords at once and complete piece in every key, within 4 lessons. Scientific yet easy to undei'stand. Fully illustrated. For beerinners or teachers, old or young. All music' free. Diploma granted. Write today for 64-page free book, “How to Study Music.” M. L. Quinn Conservatory, Studio KB, Social Union Bldg., Boston, Mass. Buy U. S. War Savings Stamps Photoplays - Stories -Poems - Songs Ambitious WritCTS of Photoplays, Stories. Poems, Songs, send today for new catalog of helpful suggestions. Atlas Publishing Co., D-598, Cincinnati. O. A fascinating profession that pays big. Would you like to know if you are adapted to this work? Send 10c. for our Twelve-Hour Talent Tester or Key to Movie Acting Aptitude and find whether or not you are suited to take up Movie Acting. Instruc- tive and valuable. Send dime or stamps today. Interesting, Illustrated Booklet on Movie Acting Included FREE! Film Information Burean, Sta. C, Jackson, Mich. I Now dipthe hair in warm water, separate it into small parts and scrub the scalp with a tooth - brush lathered with Woodbury’s Fa- cial Soap. Rinse thor* oughly Qhe Right Shampoo HOW THIS TREATMENT HELPS YOUR HAIR The whole beauty and lustre of your hair depend upon your scalp. This is why caring for the hair is the same as caring for the skin. Which of these is your hair trouble? Is your hair dull and lifeless? It can be made rich and lustrous. Is it greasy, oily? Or dry and brittle? You can correct the condition which pre- vents the tiny oil glands from emitting just the right amount of oil to keep your hair soft and silky. Is it constantly powdered with dandruff? Or does it come out in combfuls? Begin at once to keep the pores of the scalp as free and clear as you keep the pores of your face. Keep your scalp healthy To keep your scalp healthy and vigor- ous, use persistently Woodbury’s Facial Soap, formulated after years of study by John H. Woodbury, the famous skin specialist. Use the soap treatment given on this page as a regular shampoo. You will enjoy the healthy, active feeling it gives your scalp. You will soon see the im- provement in your hair- and softer it is. -how much richer For ten or twelve shampoos, or for a month or six weeks of any of the famous facial treatments, you will find the 25c cake of Woodbury’s Facial Soap sufficient. Around it is wrapped the booklet of fam- ous Woodbury skin and scalp treatments. Get a cake today. Woodbury’s is for sale at drug stores and toilet goods counters throughout the United States and Canada — wherever toilet goods are sold. Send for sample cake of soap with booklet of famous treatments and sample of Woodbury’s Facial Powder Send 6 cents for a sample cake (enough for a shampoo or for a week of any Wood- bury Facial treatment) together with the booklet of treatments, “A Skin You Love to Touch.” Or for 12c we will send you, in addition to these, a sample of Wood- bury’sFacial Powder. AddressThe Andrew Jergens Co., go2 Spring Grove Avenue, Cincinnati, Ohio. T/' you live in Canaaa, address The Andrew Jergens Co., Limited, 9o2 Sher- brooke Street, Perth, Ontario. JJEFORE shampoo- ing, rub the scalp with the lips of the fingers (not the nails). This stimulates the blood that feeds the roots of the hair, and loosens the particles that clog up the pores !N^EXT apply a thick, hot lather of Wood- bury’s Facial Soap, and leave it on for two or three minutes Clear off with fresh warm water. Wash all the soap out carefully and finish by rinsing in tepid water mm. DRYvery thorough- ly. To make the hair flurt out prettily, d«y it hanging over the face instead of down the back o (Ten) BETTY CARPENTER A little comedienne has bccti rapidly coming to the front in Menry Lehrmati’s Sunshine Com- edies—Betty Carpenter. Thus far Hetty’s beauty has weathered the menace of aerial custard pies and aviating tomatoes. If all goes well, Mi.s.s Carpenter is likely to be heard from strnngl>' in the near future. * * Dorotliy was l)or)i in Chicago and educated at the convent of the Sacred Heart. She decided to liecoine aii actress, mncli against the wishes of lier father, who wanted In tnake a lawyer of her. Btit Dorotliy rejected tlie I’ortia ambitions and went on the stage. She finally was graduated from vaude\ille to pictures. Stardom under the luce banner came <|nicWlv liESSIK LOVE Mi.s^ LcneL jjareiits liad singular fo'resiglit, fur Bessie was horn right in Los Angeljes. With studios on e\ery side, tl't- intnre was decided. At sixteen site was doing extrti parts. I’inallv came a real role in “The Eljing Torpedo. “ and T’.essie was made .\ow site’s a X’itagrapli star. « M AE M VKSn “Slu! i-i Minloiina in an ai l as w ilil ami yoiim^ a' lu r 'w i-ct i’.\os; a H ail dew lli<\\<.-r from this hot lamp tlial i^ iotla> ' divine surprise.” penned X'achel l.iiulsay of Mae Marsh in his “Tlie Cliincsv Aiylitinitale. Mis, Marsh is now at work on a new series of (iohjwxn prodnetions on the eoa likeable — and tivid- young person Keeping Th The( By FREDE were queer Oriental candles, hal burned. A golden lucky hor.seshoe, pre sented by an enthusiastic Western regi ment, graced a side wall. The incense gathered and curled abou us. We investigated the room with tin grim purpose of turning it ot¥ — if ]>os. sible. But it swirled out thicker ant thicker in clouds from some mysteriou side room. T wenty minutes ! Then came a distant rustle ant tinkle of bracelets. 'I hru the gra; of the burning incense came Mis Bara. In clinging crimson velvet Embroidered here and there vvitl gold. (“Perfect,” we recall sayinf — to ourselves.) She ttKjk our hant and murmured st)mething about th- dire|)lace and tea. Suddenly out of smoke-cloud emerged a Japanes Fivk minutes passed — ten — hfteen! The veil of incense whirled and circled about us. A stone .Buddha grinned from the table. A portrait of Theda Bara, looking pleasantly over a pale Polar bear, gazed 'at us in the eye. Fantastic tai)estry designs of peacocks tlrajieti the walls. Close by ppointment With hra ES SMITH rvant. He lighted tlie gas grate, drew e circular couch closer to the fireplace -and we sat down. A tiny tea-wagon )peared from somewhere and Miss jara began. I “Perfumes fascinate me,'’ she sighed, biding up either hand esthetically to her bstrils. “I’ve just had two new odors eated for my use and they quite cap- bate me.’’ Then she went on to say at few- people know' the value of per- imes, which should express the ])er- [nality, the time and the mood exactly. “A mighty good start,” we said^ lain to ourselves. But perhaps we |iled to register vivid interest in per- mes. Anyway, Miss Bara shifted rap- ITly to other .subjects. Suddenly she )pped and her famous eyes considered seriously. “When were you born?” she asked, lid we confessed. T w'as born in November,” she said, f you had been born two weeks er I couldn’t have .sat here ten nutes with you. Our stars uld be in conflict.” We sighed with relief. Miss Bara talked of dreams 1 their intet])retations. Once ss Bara, we remember, ;amed that she was a vestal gin in ancient Greece — or s it Rome? .\nd w'e’ve te forgotten the interpre- on. diss Bara ser\ es us with and odd sugared St. “Mr. Petes” pea red. “Mr. ;es'’ is Miss a’s newest g . 'I' h e said that she was terribly unlucky with dogs. Tvither the}' bit somebody or died or .something. We moved away slightly from “Mr. Petes,” who, however, seemed to consider the future w'ithout worry. At the moment he was eating toast quite unperturbed. in the middle of our second cup of tea, Miss Bara delved into the science of num- bers. We’ve forgotten how she reached it, but, accord- ing to numbers, fate has destined Miss tiara is ^ioiii^ to appear on tlic stage —soon. It is her flearcst desire. When her present screen contract has expired, she will turn to the footlights with some- thing big and mystic and vampirish !\( Seventeen) her to get her success wholly thru herself. After some fig- uring .she got our number, ex- plaining that our success would come partly thru ourself and partly by working thru others. Which left us even more re- lieved, but still somewhat hazy. Probably noting our labored breathing. Miss Bara had the Jap .servant turn ot¥ the gas logs and shortly the incen.se began to dwindle away. We started to think clearer. Our talk wandered on to many things. Miss Bara’s oc- cultism began to give here and there before a healthy human- ism. We commenced to sense her real self. .Somehow we felt that she had done her duty by her press-agents and was becoming the real Theda Bara. But she did tell us how' she .sends contributions to a little church in the mountains of {Continued on page 78) Today Anthony Paul Kelly, play- wright and scenarioist, refused an offer of $5,000 from Mary Pick- ford to scenarioize “Daddy Long Legs.” Four or maybe Ijve years ago he was starving in a Los Angeles boarding- house. Truly the mills of the gods grind — speedily. The Mary Pickford offer was refu.sed be cause Tony, as every one along Broadway familiarly calls him, considered “Daddy Long Legs'’ too fine a i)lay to be put into scenario form by anybody who cannot be Johnny-on-the- .spot when it was produced, attending to all the fine details. And as, at present. Kelly is a C. P. O. (Chief Petty Officer — a C O P, as he laughingly i)uts it) in the American Navy, stationed in New York, it was an impossibility for him to trai]).se out to California, where “Daddy Long Legs” is to be photographed. But to be able to refuse $5,000 — there’s the rub, as our bard of Avon would init it, and at the age of 26 — there’s another ! A Fool of Fortun By BARBARA BEACH 1 want to tell you about Tony Kelly's char- acteristics, also some chapters of his life, for two reasons. First, he is an author who has succeeded on his own at an age when most men are just beginning; and second, his his- tory contains a corking human interest story. “Dont say 1 am a genius,” said Kelly, in resjjonse to a remark I made to him. “I’m not. But I read the newspa]iers, I know my history, and I have hundreds of ideas which I can scarcely wait to work out on paper.” There, in a nutshell, is the secret of his success. He works his ideas out on pa[)er. Long before his enthusiasm has waned he has Underwooded and sold a scenario, a l)lay, a vaudeville sketch, while other able writers would be content to dream their ideas into production. Doing, not dreaming — that is the sim})Ie difference between success and mediocrity. Anthony' Paul Kelly was born “in the ujjper front parlor,” to quote his own version of an important event. To those prosaic humans who wish further information, I Two glimpses of .^.n- thony Paul Kelly's stage success, “Three Faces East,” with Violet Heming and Emmett Corrigan in the leading roles. The hit is now running at the Cohan and Harris Theater may add that the upjier front parlor was located in Chi- cago. Tony’s parents must have had visions of saintly years ahead for their son when they gave him the A n t h o n y and the Paul part of his name. I know they had hope.s of his being a iirips't at (Eighleen) These were the days before the war, and California was swamped with well-known writers. For weeks Kelly hunted in vain for a position ; then he hunted for a job, equally in vain, until the time came when he owed his landlady four weeks’ rent and had spent his last nickel. “The only reason the landlady let me keep my room,” said Kelly, “was because I had no baggage she could turn to account. So she let me stay sort of like an invest- ment. If I got my job, she got her pay.” It was on a Friday that Tony had spent his last nickel for food, and on the same day he got an offer from the Los Angeles News to write on space, beginning Monday morning. All day Sa;turday the lad drank water' to fool himself into thinking he had eaten. Towards evening he was con- sumed by such a terrific hfTnger that he screwed up enough courage to enter a restaurant and ask the proprietor to allow him to wash dishbs for a meal. He was turned out with the curt refusal, “We’ve got too many men now.” {Continued on page 77) Tony started out to be a priest. Then he became a fifteen-dol- lar-a-week reporter. Next he worked on an engineering project in Arizona. After that came the scenario idea and near-starvation in California Thus Anthony Paul Kelly Characterizes Himself least, for he attended St. Paul's Academy and Loyola College with that avowed inten- tion. But the best laid plans, you -know — at any rate, Tony was e.xpelled from one for hitting a companion, by mistake, with an apple, and from the other for playing craps. The second expuLsion of his son proved too much for the Celtic pride of Kelly pere and .\nthony was disowned. The i)arental door was shut in the prodigal’s face, and it was up to young Tony to make good on his own. He was a stripling then — he is now— a youthful, slender figure w'ith snappy, Irish eyes and hair that refuses to behave. For a short time he remained in Chicago as a fifteen-dollar-a-week reporter; then he went West to ])articipate in an engineering project, just outside of Phoenix, Arizona. The sole recreation of the men out there was to ride into Phoenix and see a movie. The shows then were one- and two-reelers and so mighty scarce that Tony and the boys saw the same show over and over again. Young Kelly considered this all wrong and determined to increase the supply of scena- rios. Out on the dry desert he sketched a plot and submitted it to Vitagraph. His first -script was pui'chased for, I believe, the munificent sum of fifteen dollars. Thus it was that the bee for waiting started buzzing again, and Kelly worked his way to Cali- fornia. “Never put any .stock in that Horace Greeley quotation about going We.st,” said Tony; “take a tip from me and go East. In the East lies opportunity.” ( Nineteen) Sliding Down the Banisters to Success “X TO," Alarjorie Rambeau laughed, over her dainty cup, "I never was stage-struck. For a San Francisco girl, I was unusually slim and frail, because I had .sprouted so ra])idly. I am not an inch taller at present than I was when I wore i)ig-tails! So, as a means of strengthening my health, I was .sent, when a child, to the Paul Ger.son School of Acting. They had an excei)tional gymnasium course, and their dancing and cali.sthenic and fencing branches were, at the time, the best in the country. It just happened, that’s all’’ — offering some Parisian pastry — “that it was my lot to go on the stage. 1 had never given it a thought, remember, and yet, ! one day, a Mr. McLane came to the school to ask if he might choose a pupil to go on the vaudeville circuit in one of his .sketches. He spied me as I was slidhuj down the banisters, and turned to the direc- i tor, claiming I was the one he w’anted 1 I was a'| youngster of twelve. I had never acted before. i And yet he w'anted me to play the part of a wife of thirty-four!’’ Miss Rambeau’s musical trill of joy re-trilled thru the rooms of her apartment. ' “Of course, with little *or no theatrical aspirations, I was tickled at the idea, and because Mr. McLane was so sincere in his conceptions that I had possi- bilities of being an actress, and his promise that he i w'ould make me a good one. mother — for she hacL been asked to accomi)any me — let me go. Well, for the first time in my life — it was then that I donned long skirts, corsets, high heels and ])ut my hair on top of my head. “1 loved it. Mr. McLane felt that, so the next year he jiut me on in a play which happened to be none other than Dumas’ masterpiece — only, I am sure I am not si)eaking at random when I say that that was the first time, I believe, ‘Camille’ had ever been jrlaycd by a gird of thii'teen ! Mr, McLane vow^ed he would make me the youngest leading lady . . . and it is so . . . out West . . . altho it was ir stock . . . that is what 1 became.’’ Miss Rambeav flourished the I'adiation of her smile effulgently “There! What have I been doing? Rambling or about myself! Oh, my dear ... I think that wil do for a while." And she buoyantly arose am glided over to the victrola. “Hei'e is a new recorr I want you to hear. I think it will jflease you.” It was a pretty thing. gossamer tune, most ex quisitely wafted by the lambent wand of Heifetz After that she gave me another of his idylls, am then came Galli-Curci, Kreisler, McCormack. Eacl one of them exhilarated her, then sobered her, ii turn. She smiled at the sei'iousness of her felicity After a while she said, “Please dont think me one sided. Jazz music gives me a good time, too. Whereupon for a half-hour the two of us expe rienced thrill upon thrill o sinking to the depths of uf lifting, harmonious discon “I guess it’s that way wit every one,” she confidec “our want of extreme Why, my music cabinet just like my fancies fc food, or as my childhoo goals used to be, either a good or all bad. “Which reminds me ( Alaska. There, there ai only two kinds of wome (fT ICC II til) Marjorie Rambeau as 'she appears in “W'liere Poppies Bloom.” A San Fran- cisco girl, Miss Ram- beau was sent to a dramatic scbool. One clay she chanced to slide down the ban- isters. A theatrical manager was stand- ing at the bottom and he engaged her on the spot — to play a wife of thirty-four jl j I By C. BLYTHE SHERWOOD I il^ood or had. How I came to discover tliat was ivhen T was sixteen years old. Mother and I and ilie company in which I had been starring were tranded in one of their mining^ villages, due to ;he neglect and disappearance of our drunken hailager. Without him, we had nothing to do Ind were absolutely with no funds. The ])eople )f the center waited to see whether or not we v’ould succumb to their cabarets. They were keptical about the legitimacy of our purpose. They did not want to dare any more chances, ' o many times had they been fooled by the bad. After two weeks, mother and I were the only [)nes left. The others had by some way or )ther managed to reach Fairbanks. Doggedly ive held out. One offer on top of the (hher, to dng and dance in the halls, were refused by us, ijmtil finally, when the cvdtured and wealthy in- liabitants of the place realized our sincerity, we jvere, of a sudden, swam])ed with invitations to dsit their homes, and even give private per- 'ormances. A^ou see, as soon as they came to li Once, stranded in .\laska, Marjorie Rambeau opened a school for dramatic expression in the wilds. Miss R a m- beau owned her own dog-sled, in which she rode home at night after instruct- ing the miners’ kid- dies in the art of acting make sure exactly which extreme we were, the good or bad, they acquiesced their acknowledgment. “Life, following that, w'as wonderful.. They gave a big benefit for me. and I re- member now how, for al- most an hour, I could not speak, after they had come to my cabin and let $438 fall into my lap ! They sug- gested I organize a school of dramatic expression ; they even presented me with the wood for the con- struction of the building. Their tiny children came ... I taught them how to sing and recite and dance. The women joined and learnt how to give pageants and tableaux. And the men — well, they were just God’s men . . . big and clean . . . and boyi.sh . . . and bright . . . and ever so eager to learn. As for me, oh, it was fabulous — like some of the moving pictures I see now ! I was so happy . . . there with those real people . . . the kind who came running from miles away if they thought the smoke of their friend’s chimney wasn’t blowing right ! I had my own dog-sled, too, com- posed of eight gorgeous canine specimens, and many a night I had to travel around alone — with this to say as a conclusion, that never, in all my two years’ existence up there, was I once insulted {Continued on page 80) (Tiventn-oiie) The Interesting Lit By JANET SERVICE WAKNKR Oi.ANO leads it. Or rather, Mr. and Mrs. Warner Oland lead it. I say Mr. and Mrs. advisedly, for inasmuch as they work to- gether, play together, ])lan to- gether and dream together, so are they .seen together after one ha.s talked with them and left them and viewed them in retrospect, immensely indi- vidual, in.separably blent. If you, whoever you may be, were going to spend an even- ing with a “werry, werry heav)- willain,” what would you ex- pect ? What would your an- tici])ations be? Not being overly acquainted with willains and their pet habi.ts and pettier, idiosyncrasies, 1 dont recall ])re- cisely \\ hat T did e.xjiect, but 1 have .several concei)ts of what f did not exjrect ; i. e., I didn't anticipate a wife, certainly not one devoted and very much and very charmingly devoted to. Whoever heard of a villyun with a wife, and whfj — oh, who ever, eTcr heard of a villyun with a happy wife? I didn’t expect home atmos])here. Monte Carlo, y’know — Paris— New York in her harlequin hours. I didn’t expect a penchant, totally unconcealed and un- ashamed, for pig’s knuckles and Bass ale. 'I'rouffles, 1 would have thought, and, say, dripped absinthe. Nor golf, virtuous recreation, nor a craving for farming, for the raw earth, from which the deca- dence of a villyun should have so far removed him. I foiled all of these things. I found a great deal more, a great depth more. Now no one, of cour.se, thinks any the less of a man who is villain- pus with Pear] White for re^ls an’ reels an’ reels. Just as no one thinks any the less of Rupert Hughes becau.se h'e is not Tolstoi. Each to his separate sphere. Still, honestly, -neither does one find oneself supposing that .said serial seducer is a ])roducer and a lover of Ibsen, art, Russian and otherwise, but inevitably the best and mo.st progressive of art, a follower of the Czecho-Slav question, and, with .Mrs. (tiand, ihe imroducer of .Strindberg into this country. With it all, above it all. a liver of the intei'esting life in what he terms the interesting world. It is rather epochal. Ivvery occasional once in a while one meets a per.son, or l>er.sons, one chances upon .some life, some mode of living, that makes one sit figuratively back, fold one’s arms over one’s suddenly wistful heart and say, “.So there are people like this! Life can be this vital, ab.sorbing thing!’’ And, if one is wist- ful. one is still glad. One is conscious of added dejith, a richer, more glowing color, a refulgence of atmosjihere. This, in greater or lesser ])art, came to my mind when 1 sjient mv afore.said evening last week with Mr. and Mrs. Warner Oland. They have a charming studio ajiartment in the West HO’.s — an atmos])heric thing, rather wide and air\ and unencumbered, witli various of Mrs. Oland’s unframed canvas.ses on the walls, a huge black table, a parchment lamji. Here they sjrend their winter months when they are not in Califor- nia. During the sum- mer they live at the Englewood Club, and golf vigorously and en- thu.siastically. Both Mr. and Mrs. (3land have a fine enthusiasm, a con- tagious zest, which com- municates itself, and hence successfully, to whatever thing the y may be doing. After a summer of s])orts they come back. The Ol.-iiids h:i\v a charming studio apart- ment in the West Si’s — an atmospheric tiling, wide, airy and unen- cunihered. Here they spend many months of tlie year. Tliat is, when thet're not roughing it on a farm -in Massa- chusetts ( Twenty two) I Warner Oland Leads It- -Or Rather, Mr. and Mrs. Hand, for They Work, Play, Dream and Plan Together with renewed zeal, to their inleresiiiijf world. Ouile fre{|uently tliey \i‘'il liieir publisher on his ( I think they said) ^lassachusetts farm. Air. (,)land feels that the mainsjirinj*; of all art. of all ex]n'ession, whatsoever its medium, of all beauty, is tbe tremendous ])ottry of the raw, magnificent earth, d'he miracu- lousness of grow ing things. J'he rhythm of the labor of the earth. ( )n a farm, sharing in enough of the actual work to make the fruits thereof a ]>ersonaI triumph, with yet some time for the cities, for dreaming and doing, is his con- ception of the absolutely ideal life. It might be termed “a gentleman’s farm.” yet, to hear Air. Oland speak of it, of his ideal of it, one gets a mf)re tremendous canvas, a vaster, richer vision. That is his ideal of Ih'iny. His ideal of art is to be able to produce Ilxsen and .‘strindberg on the speaking stage or the screen as he c(nicei\es them. .Such an ideal is immensely difficult of achievement. .Not every one appreciates Ibsen and Strindberg. .Still fewer ap])reciate Ibsen and Strindberg at their most .subtle. A ])aucity of appreciation means a jiaucity of remuneration, and so . . . “one may be able to starve in a garret,” .said Adr. Oland, with the little, whimsical .smile he rathei' oddly posses.ses, “gracefully and wdth a certain vicarious pleasure not in New York. Not in America. We have no ]dace here, no status, for the lean, emaciated devotee of shrines who perishes for an ideal. One must have the means that ideals may fiouri.sh.” For all of Strindbefg and Ibsen, for all the higher culture and the connoisseurship he possesses. Air. Oland in no way disparages the movies. He thinks their immensities of growth and achievement are practically limitless. At the same time, he does not think that, aside from the camera, anything origi- nal has yet been done. “But,” he says, “the possibilities — no other medium has power to convey what the screen might convey— little subtleties too fine, too shaded for the icruder medium of oil, or w’ords — shadings of things only [possible to the mobilities of the liuman face — blendings — ex- quisite things — these are the ithings the screen might do. But lit never has.” “Wherein the fault Thus 1 inquired. “Largely the scenarioist. partly the demand. .V great deal, be- cause the movies jiersist in imi- (tating the stage, from which they are, if they but realized it, a thing apart, a separate thing, just as big a thing, just as important a thing — but absolutely different. Olaiid's ideal is to ho able to produce Ibsenj and S t r i n d 1) e r if as lie conceives them. Indeed, he introduced- Strindberg to the American speak- ing stage. Now he finds that being a villyun in the movies gives him time and the opportunity to dream the dreams he cares most about. ticlow: Mr. Oland, Pearl White, Henry Gsell and Director Seitz returning from location “As a charity they have been in- valuable, their good incalculable. They have filled to over- flowing, in s o yt e ca.ses, lives which have known no les- .sening of care be- fore their advent.” Mrs. Oland is even more ambitious for her husband than he is for him- self to “j)ut on” a production of Ibsen or S t r i n d b erg. When, so Mr. Oland amusedly told me. “The Better ’Ole” left the Greenwich Village Theater Mrs. Oland imme- diately wished him to take over the theater bodily and begin [iroducing. .She told .me, with zest, of the chaG acters he gave when with Aladame Nazimova in her Ibsen repertory at the Bijou some years ago. But it remains to be seen what Warner Oland will do. He is, it seems to me, if I may use so flippant an expression for a state of mind w'hich has nothing at all of fii|»pancy (Continued on poe/c 71) { Twrnly-thrre) Maxwkll Kar(;kr calls himself a vagabond. Today he is director of productions for Metro. P'our years ago he was broke. He even worked for a few weeks as a department store floor-walker. Five years ago saw him first violin of the Metropolitan Opera House orchestra. But let us begin at the beginning. This man, who now checks up and supervises every i)hotodrama of one of the screen’s biggest producing organiza- tions, was given an unusual musical education. Maxwell’s proud parents little thought that their offspring would find his future in their despised nickelo- deon. But such is fate. Karger studied at the Ziegfeld Conservatory in Chicago and in due time became first violin of Theodore Thomas’ orchestra thei'e. Next he was for several years first violin of the New York Metropolitan or- chestra. But he began to get discouraged. “I .suddenly came bang up against the realiza- tion that I couldn’j^ do anything really big with the fiddle. It came to me after a recital given by Ysaye. I resigned my position.” “And then ?” we prompted. Karger smiled. “You would never guess what I turned to. It w'as sell- ing refrigerator machin- ery for breweries. I went West, then I toured South A m e r i c a as a sale.sman. Back to .\nierica T came — just in time to be hit by a ])rohibition wave. “Business went to .smash. 1 looked around in a hurry — if you have a wife you have to hurry in a situation like that. I got a joh as floor-walker to tide me over, and then 1 landed a position as first violin with the Philharmonic. The world war had just started, and the exit of a German musician left the ])OSt \ acant. That was in 1914. “My old haunting belief of my failure with the fiddle pur.sued me again. 1 became restless. 1 knew B. A. Rolfe, who had once played in an orchestra with (esse Laskv. Rolfe and Laskv had gone into the field of vaudeville pro- duction together and later Lasky had invaded the screen with meteoric finan- cial returns. I felt that Rolfe could duplicate La.sky’s success and together we tried it. “The Three of Us,’ with Mabel Taliaferro, was our first. Rowland, the present head of Maxwell Karger bcli that there are two of advance just ahe<, the photoplay. FirsI development of a line of young aiitl and, secondly, a b systematization of 1 ness m e t h o d s in studio Metro, was intei ed in the conif and, when Metro organized with Rowland at the h I went with tl That’s the story m y career. might sJiy that l [lerance drove me to the movies, versing the usual supposed ])r()cess. “Today we are working on our 1 picture,’’ continued Karger. “1'hat im' eighty pictures a year. Consider difference between the jtroblem of' stage and screen producer. The the cal manager finds a successful playj his worries concerning a star cease three seasons. We have to fit a , with eight dramas a year — and al them must be of average merit or movie public will turn to other favoi ‘Revelation’ would have lasted Na ova for at least two years behind < {Continued on page 79) Temperance Drove Him to the Movies By CHARLES JAMESON (Twenty-fonr. Mae Murray Makes-Believe By ALICE BENNETT . /TAB was in a very great luirry the day I talked with her at tlie Claridge. Her apartment there liad taken on the aspect of a checking-room in the Customs House in an- cipation of a I’cry conscientious Customs House icial. There were so many, many trunks, and le)’ w ere spilling forth so many, many lings. Mae appeared to be happily ^ - ilivious, save for the fact that she as just a trifle out of breath he wore a rough, little trot- ■ur, a Tam-o’-Shanter atop er golden curls and a vel- et and fur cajie. Most f the time she talked le rummaged hastily ir lectures. “We’re trying to get .ir passports to Lon- on, you know,’’ she lid, "and then, Mr. u k o r is making ans which have jt quite matured, ,k1 so I dont know cactly — in fact, at 11 — what 1 am ling to do. It is 1 quite uncertain present. We e here just for e purpose of a k i n g plans 1 r the next Jear. It’s" — i;'ie sighed |,iu s t i 1 y — “a liy'king period. ' from that to a friend in Chicago — ^and then the stage at once.” i Twenty-five) I MOTION PICTURE CLASSIC two-year-oiu u u y for my very own. I love kiddies bet- ter than anything else. Perhaps be- cause my own childhood was so — was — well, rath- er lonely. I left home when I was only eight. And then there was a convent — and I ran away from that to a friend in Chi- cago— and then the stage at once. So I dont feel as if I have ever really been a child with a child’s world — and yet, in a way, I have never been anything else. But that’s why i want to give to other kiddies some of the real lit- tle-kiddie things.” Mae has just adoyled t w o little kiddies. “You should ha^■e seen them hlossom out,” says Miss Mur- ra>'. “\\'e just all play together, all the time. W'e have cookies and pink lemonade and pop- corn. Oh, you slu)uld see’ us.” Mae was mounted “VVe just play all the time at our Californu home, anyway. We givt ])arties at each others houses — Kitty Cordon’s you know, and ours, and F.va Tanguay’s ancj others. You should set us. We have all thti kiddies, too. and we al play puss in boots and hide and seek and mostly, pin on the donkey’s tail. That’s our favorite. You should see Eva doing it — always wrong. At the last one 1 laughed so hard I had to sit right down on the floor and rock bad and forth, I was laughing so Then we have cookies and ])ink lemonade and pop corn. Oh, you should .set us ! Yes “It’s only make-believe f)f course, sheer make- believe. We’re big and wt know it. Toyland is be- hind. The kiddies aren’' really mine — the games wt play — and everything Make-believe. But — gosh it’s fun!" “Even on the screen,” 1 vouchsafed, “you have i large kiddie following.” Mae nodded her*blond( (I think it is bobbed) head “I used to do the sweet simjAe things altogether, o: course,” she said, “bu lately the directors and tin company have seemed t( think I should do th( heavier, dramatic stufi X'ot .so much money in th little folk, 1 take it. M; ideal would be to effect ; combination, the heavy pic ture with the soft, simple relieving lights running all thruout.” Thus spoke the lass who was once famed in the Ziegfeli Follies as the Nell Brinkley girl, after that artist’s pen crea tions. Then came the dance craze. Mae could dance. Sh waltzed beautifully, fox-trotted exquisitely, hesitated divinel) One of the biggest roof gardens in all New York engaged he as special feature and Manhattan came to worship. Then Mae returned to the Follies of 1915 to be featurec. She was engaged for her dancing, but the libretto called foi a burlesque on tlie motion pictures. Who says that fat doesn’t play funny tricks.' Mae was cast for the leading rol* The opening night came. Miss Murray’s dancing scored, c course, but the movie burlesque startled several screen nates “killing an evening.” Next day she had three offers. She is the busiest little person, this make-believing Mar that either you or I ever, ever saw. She rushes from mornin until night, and probably, from all indications, from nigl until morning. She plans and schemes, and certainly teli ])hones. since that intrusive instrument summoned her at lea. eight times during my brief, particular stay. And now, perhaps, it is over the sea and far away ! I ca picture her atop the riggings, bobbed curls valiant to tr winds, making a make-believe of it, of dragons green an pirates bold, and mighty waves that roll an roll ! . “But when I come home,” she was saying, softly, as a addenda to my unspoken thoughts, “there’ll be the kiddu waiting for me — and that is the best of all. (Twenfii-aiar) i i I Mildred Harris, alias Mrs. Charlie Chaplin, a star in her own name, really needs no introduction. Here she is snapped out- side of her mother’s place in Hollywood, also a glimpse of said Mater and the wor- shipping child of a neighbor ’s Cornered the Laugh Market Think of having the world’s highest salaried comedian smile at you across the table for 365 mornings out of the year ! That’s the lucky fate of Mildred Har- ris, who has led the uni- verse’s funniest feet to the altar (Twenty-seven) The Return of Florence Turner I had, for some mysterious reason, expected her to be at least medium height, whereas she is very small, not over five feet. Her voice is low and “throaty” ; I know from the feel- ing of surprise I had that I must have expected it to be high and clear. Probably, the intellectual element always present in her work had made me unconsciously overlook its human- ness, and so expect an almost typical “highbrow.” However this may be, I can never think of Florence Turner without at the same time thinking of “My Old Dutch,” the exquisite picture she made in England from Albert Chevalier’s famous song. Not even her disappear- ance (her going to England was disappearance to the great bulk of the American public accustomed to seeing its favor- ites at least twice a month; in the case of Florence Turner it was more often than not twice a week) impressed me so much as did that picture. And yet it contains no grand battle scenes nor clashing mobs ; nothing but the simple story of a cockney peddler and his “old Dutch,” (the term means wife in England). The scenes are very real and very human and never dull ; such scenes as linger in one’s memory long af- ter more magnificent spectacles have been forgotten. “ ‘My Old Dutch’ is still run- ning in England.” said Miss Turner, when I told her how Abow. A recent study of Miss Tur- ner in one of her beloved Italian characteri- zations. Center: a new portrait of the famous “Vitagraph girl and, Right : Miss Turner when she was at the height of her Vita- graph popularity A PIONEER, the gold rush, the early days of “the movies,” a mobile gypsy face whose owner could seeming- ly turn it “inside out” for slapstick comedy or rightside out for emotional drama with equal ease, (in Scotland, where they did not know her name, they called her “India Rub- ber Gertie”), the days when moving picture stars certainly did work, (manual labor, oh, boy ! ) , the girl whose work made Vitagraph pictures so good that, in sheer desperation, the Biograph Company had to put D. W. Griffith in charge, the star you loved the best of all — Florence Turner. I saw Florence Turner one afternoon re- cently when she had been in Los Angeles something over a week. I was sitting in a big armchair on the mezzanine floor at the Alexandria, looking down on the lobby and wondering if a bell-boy in flu mask really was all nose or only looked that way, when I saw her step onto the balcony from the elevator. The first thing I noticed about her was that she had not changed at all, and then, while I was introducing myself to her and asking for an interview, I noticed that she was oddly unlike my mental picture of her. (Twenty-eight) irl in the first part old woman in the |||||| ike such roles. For ^ :ter, I like any sort •acter study — Italian or best of all.” Suddenly her quiet manner fell from her and she was all ani- mation. There was about it no suggestion of pose. It was as if an enthusiast would say, “Listen — here is something I know you will like !” She is intensely interested in people ; more so, I fancy, than in events ; hence her love for character part.‘\. “I wish you could see the cockney of to- day,” she said. “The poorest peo- ple in England now are those who only a short time ago were rich. The others, those who, before the war, suffered the most incredible hardships, are now riding around in taxis and wearing furs and diamonds. {Continued on page 72) By ELIZABETH PELTRET much I enjoyed it, and she added, “It is my favorite, too, and the kind of picture they like most of all ‘over there.’ ” We sat down on a davenport just opposite the elevators on the other end of the horse show. It was an advantageous seat. Being in a corner, we could see the entire balcony and almost the entire lobby without ourselves being conspicuous. “Oh, look !” said Miss Turner, suddenly. “Isn’t that Mrs. ?” (naming a woman — not a moving picture .star — very notorious in L. A.) It was. We watched her in silence as she crossed the lobby and disappeared in the direction of the Spring Street entrance. Then we both laughed. “We were talking,” Miss Turner remarked, with exagger- ated severity, “about ‘My Old Dutch.’ ” I awoke to a consciousness of my duty, and anyway, I wanted to know. “Are you planning to produce that type of picture here?” I asked. A little quirk appeared about one corner of her mouth. “Yes,” she answered, with a now -I-am- being- interviewed ex- pression, and then, seriously, “I want to make comedies ; or per- haps I should say comedy-dramas to distinguish my ambition from slapstick. I’ve just finished a picture which I made in S p o k ane, Washington, called ‘Un- dermined,’ ” she went on. “In this play I was a Upper Right: Miss Turner as she ap- pears i n “Under- mined,’’ filmed re- cently in Spokane, Wash. Center: One of the most popular of her old Vitagraph portraits. Below: A scene from “Under- mined.” (Twenty mne) " Above is what the irrepressible Miss Dean terms her favorite por- trait, while at the right is a glimpse of Pris- cilla at the San Bern- ardino Orange Show. YOU may have marvelled at Miss Dean’s wonderful coif- fure in “The Gray Ghost.” Perhaps you spent hours teas- ing your locks into an imitation of her fuzzy top- knot. Perhaps you admired “Tfie Hand That Rocked the Cradle” and wondered where Priscilla got her experience as an infant nurse, but you’ve missed the main part of that young lady’s sprightly personality if you haven’t, with your own eyes, observed her sprightlines s in action. The scenic setting on the day of our mad little interview Avasn’t exactly magnificent. Pub- licity offices are^like newspaper dittos, bare- floored, sqliare- desked and' uncomfortably chaired, for the most part. The thing which saved this particn- lar cubbyhole from being utterly masculine was a huge, pink- i il)boned box of chocolates, which A Twentieth Century Priscilla By FRITZI REMONT had been hauled out of a desk-drawer stuffed with everything from a special brand of tobacco to carbon sheets, shoe-laces and chewed-off lead- pencils. “Me, I love a nut!” said Priscilla Dean, contem- plating a cluster of chocolate filberts. “Ya-ah, I heard you were engaged to be mar- ried,” vouchsafed the good-natured male incum- bent of the inner office. Priscilla's dancing eyes rested disapprovingly on the mere male who had dared to misunderstand her, and then the little star carefully selected another bonbon. “Call me a bromide if you like, but, to use a trite saying, T’m wedded to my art’ and haven’t any intention of being engaged to a — well, a good many men are nutty, so pei'haps I ought to forgive you for that remark after all.” “Art makes a better provider than many a husband; dont you think so. Miss Dean?” “If I didn’t I wouldn’t be where I am now. Yep, I’m unmarried and happy ” “I don’t think you’re telling the whole (Thirty) lost of All She Loves to Travel "ast — Be It in Auto or ’Plane truth. Isn’t it so that you and Eddie Ricken- bacher are engaged to be married ?” went on the remorseless male, as he twirled about in his chair. “Me marry !” confides Pris- cilla, “nothing d o i n g — I’m wedded to my art! I’m satis- fied with ‘Pep,’ my little red roadster” I “Engaged, nothing! He taught me how to drive a car, p I and I got speedomania— you know that’s a very contagious |X I disease. Then, too, he took rne up in the aeroplane. It’s | • the most delicious sensation ; that is, I mean going up and ■ ' being up in the sky. Coming down, you keep catching ^ I your breath, and it feels as if you were in an elevator that j: I hadn’t any safety catches. But oh, I wouldn’t miss an I experience like that for all the candy in the world.” ^ I “Didn’t you feel any fear a-tall the first time you drove thru the clouds?” “I haven’t been afraid of anything since I was a wee girlie. Why, do you know that I traveled about alone since I was four years old? Of course, there was the company, but I wouldn’t let a soul touch me. I used to (kess and undress myself, had a bed all to myself at the hotels, and, whenever anybody tried to boss me, I used to stick out my tongue and stamp my foot and let them know I was per- fectly capable of managing myself. “Why, in one show I played the part of a little crippled lad. In the first act I’d come on wearing a crutch on the left side, and in the second act, I’d emerge with the crutch on the right, and nobody ever knew just where I was sup- posed to be lame. When they scolded, I laughed. When {Continued on page 71) (Thirty -one) Salisbury is the idol of the Soboba Indians, whose reservation ad- joins his ranch. The tribe has named one of the tiny redskin kiddies after him, the star himself officiating as godfather. Once in a while, Monroe invites the whole tribe to a showing of his pictures at the Hemet Opera House Salisbury Loves the Great Outdoors The Bluebird star owns a big ranch near Hemet, Cal., a few miles away from the actual scene of “Ra- mona,” in which he made his screen debut as Allessaiulro. Here Salisbury raises every- thing from avocados, alias for alligator pears, to apples, and from horn toads to horses The Strenuous Monroe Doctrine (Thirty two) The Heart of Wetona Told in story form from the Scenario based on GEORGE SCARBOROUGH’S Play By FAITH SERVICE Time passes and things change. In keeping with most of the maxims handed down to us, dreary and dust-laden with age, this one is true only in part. There arc things which do not change ; things which have not changed since the celebrated Stone Age, when our ancestors ran about in goat- skins and a leaf or two and lived conjugally, or otherwise according to their several temperaments, in caves. Love is still love; lust lust. Young blood is red; death grim. A thin moon wanes and waxes ; the seasons Hush and fade. Men and women scheme and plot, custom persists. All this is true, equally, of — th’ Avenue and a Comanche Reservation in the farthermost of the Far West. In Chief Quannah, the ancient tribal customs, ceremonies and rites were as vast, as deep and as sacred as ever they had been to his first Comanche forefather executing his war-dance on an unblazed trail. Neither time, nor white men, nor schools nor a white woman whom he had taken to wife had been able to uproot from his bronzed breast the habits of his fathers long since tracking big game in their Happy Hunting Grounds. Some twenty years ago there had been a white girl captive of Quannah’s tribe. Quannah had been young then, very young, lithe as the lissome bow he bent to speed his arrows on their deadly flights, hewn as the silhouetted rocks standing forth from Big Moose Mountain, ardent as the eager sap in the young birches, swift as the rushing torrents of the liberated river. The white girl captive fell into the way of looking on the young Quannah. After a while she was offered her freedom. Quannah offered it to her. She stood by the bank of the torrential stream. She thought of home, of the men she had known there. Something keener than Quannah’s arrows stabbed her in her heart. Suddenly and swiftly she was against Quannah’s thudding heart. Suddenly and swiftly she was born again into a world more wmnderful than she had ever dreamed. Thus love. When the Comanches lilierated their rantives, the white girl stayed behind. .\fter awhile there was a little one. Quannah said in his young stern way that she must be named for the names of his jieople. “We will call her Wetona,” he said. The white young (Thirty -three) 4 MOTION PICTURE mother loved him very much. A name didn’t matter half so much as her love. So the little half- Indian girling was christened with due Comanche ritual, Wetona. Not very long after, the white girl came to die. Perhaps it was as well. Quannah was reverting more and more to the an- cient rites of his tribe. His white bride was wholly white, apart from her love for him which had stepped across the unspannable bridge of race and denied it. As she made patiently ready to go forth into tb^e mysterious dark she called Quannah to her and begged that the little Wetona be edu- cated in an Eastern college. “For my memory’s sake,” she pleaded, “for our dear love’s sake, my Quannah, my wonderful chief.” Quannah gathered her, slight and over-frail, to his granite chest. His hard, infrequ«nt tears fell on the whiteness of her cheeks and won them back to transient roses pale ; “I promise,” Often it seemed to her that she was tortured, had been tortured, ever since she met Tony Wells and he had awak- ened within her this fever which consumed her he whispered and, when he laid her away from him, she was dead. The little Wetona, golden as the sun, black- haired as the sweep of the black eagle’s wing seen in the sunlight’s fiercest glint, strong as the moun- tain cheetah, and blue-eyed as the white girl who had been her mother, grew up with the Com- anches, learnt their ancient rites, then went to the Eastern college to fulfill the white blood that was in her. Wetona wanted to love the East. It had been her mother’s home. When she left the reserva- tion for the college years she had a secret thought within her that she would never come back. Quannah was completely absorbed in the ways of his tribe. His last moment of great exceeding tenderness had sped his white girl captive over the brink. And she did love it — while she was studying and fulfilling her father’s promise to her mother. Then came her time for choosing. And all at once it seemed as if her mother’s voice spoke within her as it must have spoken when she elected to stay there in that farthermost West. There came to the heart of Wetona a myriad, million voices. There awoke in her an illimitable longing. She thought of the tepees sending their thick gray ghosts to heaven during the evening meal. She thought of the fat, bronzed papooses kicking bare, sturdy legs in the blaze of the sun ; she thought of old Quannah, stolid and im- mobile by his evening fire, smoking When Wetona left the reserva- tion for the col- lege years she had a secret thought within her that die would never -ome back % (Thirty four) CLASSIC { Thirtii-fivc) his pipe o’ peace. She thought of the rushing river, the I grim granite of the mountains, the long, lean stretches of the 1 plains, and a nostalgia swept over her that sent her scurrying L for her trunk and the express office : “The voice of my people,” she whispered to herself. I Quannah was habitually silent when Wetona told him she ii had come home to stay. But every so often, smoking his pipe |i that night, he removed it from his stern lips and chained weird snatches of grim song. After awhile the rushing river began to pall, the silences of forest, the mightiness of hills. Wetona took to going down :: to the reservation. After a while she spent all of her days i there, and frequently returned late of an evening. The Indian women muttered and nodded, but she was the Big Chief’s daughter, and he, in his wisdom, would know what was right and what was wrong for Wetona. In the Spring of the year came the Corn Dance Ceremonies of the Tribe. It was of tremendous import to Quannah. “It the oldest rite we know,” he observed the night before it i first came up for discussion ; - “we must keep.” A Vestal I Virgin had to be chosen to bring sacred food to the Holy M a n. Little River and Eagle de- clared Wetona to be the one. Quannah smiled in satis- faction. He did not say so, but it had been a long dream with him — to have his daughter carry sacred food to the Holy Man. It would be a great moment, a great hour for him. He thought that, no doubt, the spirit of his young wife would return to look upon their daughter in her beautiful innocence performing her beautiful mission. When he went to Wetona with the command his eyes were more lightened than ever she could remember them. “Father,” she said, after the fashion of the East, “how your eyes shine. Like eagles seen after dark. Strong eagles, nesting.” “I happy this night,” said Big Chief Quannah ; “you, my girl, to be the Vestal Virgin at the Corn Dance. I wait long years for this, and now it come to me. Long years I wait, my Wetona. I not know much big, great joy after she go and take her very great sweetness from me. I not know tenderness of any woman since. Tonight I feel happiness. She nor I not been in vain. Wetona, since our baby go, a Vestal, to Holy Man.” He stopped because his daughter’s golden face shone out of the deep darkness like a moon-fiower, or like . . . like ... a chill seized upon him . . . like her face from that immense divide. She didn’t speak, but Quannah knew it was because .she could not. He could see her lips moving almost listlessly there before him in the suddenly T)ppressive blackness. A chill of premonition agued him, but he resisted it, shook it oit. .She was the daughter of the Big Chief, spotless, proud, royal, irreproachable. She was the daughter of that sainted thing who had come into his life for one scented hour and left him forever her own. ^ “Wetona,” he said, and because he felt very broken he sounded stern and harsh; “Wetona ...” Then an inspira- tion seized upon him. Perhaps she was appalled by the great honor. Perhaps she felt a maidenly modesty of unworthiness, of .shyness. That was it. It was. It had to be. “No be shy, W'etona,” he s aid, m ore kindly. “It big honor, but you Big Chief ])a- poose; the honor belong to you.” ,W e t .o n a broke from him, .shudder- ing violently. There, in that spectral dark, the Comanche blood rose like a tide within her and. smote her with a dreadful fear. The thing she had done rose up with it and jiaralyzed her. When her voice came it was torn from her throat in shreds. “I — not I — virgin,” she got out, and averted her t o r m e n ted face. “I— I— white man’.s — girl — cannot — Holy Man — Creat Spirit, Great Spirit ...” And she flung her desperate body on the ground and shuddered and was still. Quannah was still, too. He was still because he was making a bloodthirsty vow. When he had done he bent over the rigid form of the girl. ‘AVho — wlio this man — zvho?” he demanded, and Wetona sickened at the threat in his speech. But .she shook her head. “I never tell that,” she said. Quannah gripped her shoulder. “You tell,” he rasped, “you tell.” Wetona quivered and was silent. Quannah stood \ ery still {Continued on pa(/c t)4) He liad cared for her during the week and she had beconie used to him. If she withstood the test — well, then, dreaming were worth the while and the sweetest of dreaming truth THh: HK.^RT OF WETONA Adapted from the scenario of Mary Murillo based on George Scarborough’s play. Produced by Select Pictures, starring Norma Talmadge. Directed by Sidney Frank- lin. The cast : V\'etona Norma Talmadge Hardin Thomas Meighan Anthony Wells Gladden James Starward Ho! Airy Faire Binney is on the Threshold of Fame TiiiKi-. is nothing in the whole of life comparable to a begiim'nuj — young- green of May— a baby — an un- folding rose — the inception of -ong — dawning. The most de- licious, the most sung and -toried locale of locales is the immortal and imperishable seg- ment of ground “Where the Imook and river meet.” On that es]iecial and particular segment stands, poised, willing and alertly ready, Faire Rinney. Immediately behind, how trans- lucent and ])urling a brook! Immediately before, who knows how \ ak)rous a river ! 'I'he tluttering of the wings i)f a newly Hedged Pojiularity is, or should he, a ]dienomena deal' to the heart of the ])sy- chologist, the student of that rurn arfv, Humanity. It is a vision a.s delicate as the in- finitesimal whirr of the hum- ming-hird, as flush as a ripe ])each, as hardy as Hope. It may be known chiefly by early morning calls, immaculately kept ju'ess notices in si)andy new scrapbooks, en- thusiastic trips to ])hotogra- phers and ])lans only ecjual in cosmoix)litan conquest to those of the late lamented Wilhelm and son. Comparisons arc odious ! .\iry ]iersiflage aside, we found Faire Binney, before whose still enraptured vision the ])inions of new Popularity are somewhat rapidly and dazzlingly unfolding, a real, half-incredulous, wholly an- dcipatory, confident, hardily amhilious young i)erson. A z'cry young person, indeed, in the roseate dawning of being a Vogue. She resembles Ann Pennington physically. She must, because she informed me that I was far from being original in noting the similitude — and so huge and om- nivorous are the capacities and capabilities of femi- ninity in its ’teens that heaven knows what or whom she resembleth histrionically, artistically or popularly. She has a nice background, Faire Binney. Her child-days and school-days and high-school-days (what there were of them) were spent in and about Concord and Boston, in the musical home and atmospheie of a very musical aunt and uncle. She played about the grounds of the home of “Little Women” and chummed with the various grand-nieces and grand-nephews of the gentle “Meg” and the aristocratic “Amy.” She .skated on the same river made vivid by “Laurie” and by “Jo,” and bicycled on the road made history by Paul Revere. But, all these influences notwithstanding, Faire decided, two years ago, that, if .she were to be an actress and she just zvere, she had better begin, .so she sa'd farewell to the girls and boys who looked in amazement upon so ambitious a young person. “Of course,” she reminisced, in the happy fashion of one for whom such reminiscenges are no more than insubstantial memories, “I had no idea of beginning anything at once. I planned to .study. And then study some more. I had had the hard and steep and endless ladder pounded into me from childhood. When I was very tiny — oh, ’bout eighteen months, I guess — I u.sed to hastily anticipate a lecture on 'bumps’ by .saying, very rapid- ly, T know all about the hard- ships. I know' they are perfect- ly tragical. But 1 dont card’ Fve had that feeling all along. That, so long as I once got there, I just didn’t care. I was pre- pared for anything — for the very worst. I was optimistic, even while I w'as religiously pessimistic. Of course, Connie cheered me up some, and yet, paradoxically ( small .stars say big things) she depressed me. When I heard of her success I thought, ruefully, ‘lightning never strikes twflce in the same place.’ But I thought, too, ‘this i:^ just one of the hard, steep rungs Fve heard so much about.’ My friends thought it would be so much nicer for me to play at be- ing a debu- tante, or. a I ft'- Faire Biniiey’s child-days were spent in an d around Concord and Boston.. She played about the grounds of the" home of “Little Women” a n d chummed w i t h t h e V a r io u s grand-nephews of the gentle Meg and the aristo- cratic Amx (Thirty-six) most, to charm the ear by dainty nocturnes on a baby grand. I didn’t agree. Most always, I dont.” And so she set forth to conquer Gotham, her courage in her hands. Amazingly enough, Gotham, so adamantine to many a knocking hand, proved, or rather, is proving, quite silkaline to Faire. Of cour.se, sister Constance, now dancing upon accomplished toes in ‘‘Oh, Lady ! Lady !” was, anyway, an instrument of Fate when she took little Faire along with her to interview Maurice Tour- ■ neur. But, after that, there was just nothing to it! Faire had a test made, and then was one of the sisters, real, honest, born-that-way sisters in “Sporting Life,” had a part in the Civil War episode of “Woman” and is begin- ning work at date of this writing with John Barryrhore in his new comedy, entitled, I believe, “Here Comes the Bride.” Which means, of course. Famous Players, a contract, “an’ a’ that, an’ a’ that !’’ Not much by way of biography, for which I am grateful, since I abhor to write biographies, but a great deal by way of potentialities cannot be writ- ten but must be sensed. I sensed a great deal . . . the early morning, you know . , . at home , . . things happening . . , such as a jocular ’phone call from An- thony Paul Kelly, responsible for “Three Faces East” and multitudinous known scena- rios . . . mail . , , ward- robe to be selected . , , pho- tographs to be taken , , . all the other fascinating insignia of the aforementioned bud- ding Popularity. And Faire, in much the same state as the bewildered child who gazes upon the display left by Santa Claus, sees, yet does not see, must, perforce, believe, yet cannot. “It seems too good to be true,” summed up Faire, and yet, with a determined tilt of a small, determined chin, she added, “But I shant stop— not till I’ve gone as far as there is any going! I’ve made up my mind to that.” Faire has bobbed, juvenile hair, a plump, childishly con- toured face, wide, gray eyes and a round, not too slender figure. She has, in what might be contradiction to these attri- butes, com- mon sense and a mind of her own. She may look as tho she subsists upon 1 o 1 1 i - pops for her bodily sus- tenance and Faire, a 1 1 h o she may look as tho she sub- sists upon lollipops, hr as a mind of her own, and a bank-account, along wit h \- i e w s upon marriage, chil- dren, suffrage and Labor the “Dottie Dimples” for her mental — but she doesn’t. Not at all. .She has her own bank account, is “independent,” is going to manage all her own affairs, and has viewpoints about marriage and children and suffrage and labor, and, no doubt, theosophy, cera- mics and the .Syrian move- ment had we had time to touch upon all these little de- tails. But we had no time. The Bird of Popularity is a rapidly ascending fowl, and upon his flight there are many things attendant. One lone interview could not detain him for a whole morning — and it didn’t. We gleaned before we left the apartment in the East 50’s, however, that just as soon as Faire is pos- sessed of the Arabian Nights salary of a star she is going to buy an airplane first, give all her friends the time of their lives next and travel round and about the globe third. Three nice, modest little ambitions, which we have no reason to doubt will be realized. “I want to do everything there is to do,” said Faire, “whether it be pleasant or uniileasant. When I die 1 want to feel that I haven’t passed by a single pleasure, a single pain. To be a great artiste — one has to. dont you think ?” I did. “1 want to go every wliere there is to go. I want to fee! everything there is to feel. {Continued on page 70 1 By FAITH SERVICE t Thirty seven) to be spurning the affec- tions of Pupil Louise Fazenda. The professor, it appears, cares not for the freckled lady with the shattered heart I Teaching, as Chester !:|ji Conklin finds it, seems j : to be as dull and prosaic I as being a king i" I Europe these days. Ij Here he is absorbed in {i the task of imitating a : : blotter ' 1 The Good Old Golden (Thirty-eight) ! i I And He Wants to Be a Playwright ! Dick Barthelmess Disdains Stars and Longs to Dash Off the Big American Drama By MARY KEANE TAYLOR IF Alla Nazimova hadn't wanted to learn English so badly, this story might never have begun auspiciously for Richard Barthelmess, But, Allah be praised, she did. But the little lady from the land of Samovars and Steppes had a very dear American friend, an actress named Caroline Harris, who offered to teach her the so troublesome English. Caroline happened to mention her young son, Richard Barthelmess, one day, and Nazimova desired to meet him. At that time young Dick was in his junior year at college, but during vacations he had played in stock companies in Canada and at eighteen had been an assistant stage director. Besides, he danced and dressed very well. V Hs a serious young gentleman of a studl'v,...>; ^ AWh? Dick is a studious turn of mind, and made an ex- young man. He loves ceedingly favorable impression browse among his Russian actress. , hooks. His one relax- So, when Madame Nazimova in- ation is dancing vaded the silverscreen under Her- bert Brenon’s direction in “War Brides,’’ the boy was given the role of the younger brother who goes to w'ar. He’s only twenty-three years old now, but he has, in the period since “War Brides,’’ done nineteen jilays in twenty-six months. Curiously, he has appeared opposite the littlest stars— speaking figuratively, not financially — who ever flickered across the silversheet. “The Eternal Sin’’ followed “War Brides" and Richard Barthelmess found himself a personality, instead of mere “atmosphere." for you see, like others he had to start in and buttle and do odd jobs in some minor pictures, some- times playing in two features at one time. Directors liegan to comment on the work of the “clever kid," as he was dubbed, and it wasn't long be- fore the 'boy had an opportunity to play opposite the tiny lady of his dreams. Marguerite Clark. That was a big moment in his life, for he’d adored the four-feet-ten of prettiness from afar ever since he had attended the movies. “To think that T should have been married to Mar- guerite Clark countless times in pictures and then have had to give her up to a soldier. Aren’t girls queer?" asked Air. Barthelmess very seriously. “I worked with her over four \ears and she w'as always the dearest girl. t Thirty-nine) so helpful and sweet. I never could say enough about Miss Clark to make you know her as I knew her. She’s an angel to play opposite to, and we had such fun doing the Bab Stories. Those wyre certainly happy days,” sighed the youthful cavalier of dames. ‘‘Did you ever have any thrilling happen- ings with Miss Clark?’’ ‘‘Well, that drowning scene, the shipwreck in ‘The Valentine Girl,' was rather un- pleasant, but people really thought it worse than it was. Tt was very cold, you remember, snow and ice and sleet, and I was to be in real ice-water in midwinter. I got around it By wearing a full rubber suit under my outer clothing, and Miss Clark was so afraid I would get a chill that she thoughtfully pro- vided a physician, had two huge prize-fighters to rub me down, and medicines were poured down my throat until I was hustled into a cab and driven home and jiut to bed. 1 here were enough precautions taken. 1 can assure vou, but it was just an example of her con- sideration for all the i)eople who [jlayed opposite her. Why, 1 didn’t even get WCT. That was about tlic only play in which I appeared wearing short trousers, too.” “You’ve always played opposite verv small stars, haven’t you. Mr. Barthelmess “Yes. you see I’m small, only five feel seven inches, so they have given me sona- MOTION PICTURE CLASSIC pretty fine parts with the biggest stars on the screen, but the smallest in size. 1 did ‘Ngarly Married’ with Madge Kennedv . and you know it isn’t very far from the sidewalk to the top of her shiny brown head. Then there was Ann Pennington, sauev .\nn— she’s delightful to woo in the movies. We did ‘Sunshine Ann’ together. (iladys Hulette is. another pretty little girl with whom I was associated in ‘The Streets of Illusion,’ but I can assure you I retained all my illusions about Miss Hulette. for she’s a REAL girl as well as a very clever little actress. Then they called me to do a part with Gladys Leslie. ‘‘The last thing I did back East was ‘Three Men and a Girl,’ directed by Micky Neilan in the Adiron- dack Mountains. We had a dandy vacation there, too. Then Mr. Griffith sent for me to play with Dorothy Gish and to do a propaganda picture for him at the same time.” “Hurry up, Dick, we’ve got a few re-takes scheduled for you,” shouted Director Elmer Clifton, and off hurried the young man-who-was- to-have-been-a-dramatist, to change suits for the next scene. Yes, Dick {Continued on page 70) Dick has played op- posite most of the tiny stars of the screen, starting with Marguerite Clark. Here he is making love to the irrepres- sible Dorothy Gish (Forty) each night. But Los Angeles is a mighty poor place in which to make friends, for every one is so busy with his own afifairs, and we've been so accustomed to seeing strangers arrive and shortly after silently fold their tents about them and steal away, that we are not keen on in- t i m a c i e s. Consequently, Florence found time dragging heavily on her hands. The little home was easily kept in order, reading and sewing palled on one who had been accustomed to loving attention from friends, teachers and family, and she began to wonder what on earth she could do to amuse herself. So one day, without telling Friend Husband, and not being able to think of anything else, she decided that ACTIN(d any old thing would be better than sitting about the house lonesomely. You see her en- trance into the movie field wasn’t romantic at all — it was the outcome of a longing for work to do and some one to talk to. She applied at the Western Vitagraph and, since she was young and pretty, she was taken on as an extra. When she told Mr. \^idor, he was quite satisfied, for he knew how much she missed her parents and sister since he was busy all day at an- other studio. Miss Vidor, a 1 1 h o married to a director, started d\it all un- known to her hubby and got a job as a movie extra. Then all of a sudden came her phenomenal hit as the girl in the guil- lotine cart in William Farnum’s “Tale of Two Cities” Fame Via Matrimony By OLIVE CAREW Every road leads to Rome, they say, so why not the Highway of Matrimony ? It’s true that few players make a success by starting along that perilous path- way, but the exception still proves the rule and Florence Vidor is one of the notable exceptions. You know most of the girls go into pictures and their beauty captivates either a star, a director, or a wealthy private citizen — and that’s why they marry. But here’s a little Texas girl who was born at Houston in 1895, educated in a convent school, and hardly out of it before she met big, handsome King Vidor. The courtship was short and Mr. Vidor started to support the school-girl bride thru his earnings as a motion picture director in an independent Texas company. He was just a year older than Florence, bom at Galveston, full of ambition, and restless over the poor conditions which confronted a producer in Texas. It was difficult to get players down there when a large cast was needed, since one couldn’t ’phone an agency for types, as in California. That brilliant idea having once found entrance in the Vidors’ think-tanks, they decided to sell out and come to Los Angeles. Now, of course, Florence had not the slightest idea of acting. She had passed thru the usual stage of taking elocution and music lessons in the convent, and had done her bit as a player in the little French plays given there. California seemed quite entrancing at first, there was the fitting up of a home, taking sight-seeing trips, house- keeping and looking forward to a cosy dinner d deux (Forty-one) MOTION PICTURE CLASSIC Miss \'idor played small parts but seemed to make no particular progress. However, she was intensely interested in the motion picture art by this time and decided to stick and to make a success. Even then, Fate did not seem particu- larly anxious to boost her, and she was doing nothing but “’atmosphere” at Morosco or Vitagraph — that is, filling in at cafe scenes, doing French maid parts, or afternoon callers. Besides one of the business force at the studio said to Florence one day, ‘‘Say, you don’t • look a bit like a maid and every time they show you in a picture as a maid, somebody will think you’re some friend of the director’s whom he had to use. Why doncha cut this business ?” Again, Miss Vidor did some tall thinking. She went to her director and said she would quit, that she’d rather not act at all than do atmosphere. Starting out again, she had a little try-out at Fox and nearly every one is familiar with her jump into favor — or was it a RIDE? Anyway, she wobbled about in a guillotine cart in ‘‘Tale of Two Cities” — and found herself famous. She played “The Intrigue,” and “American Methods" and, shortly after that, was asked to support Sessue Hayakawa. Which almost brings us up to the day when I called on her at Lasky, where she is rounding out a contract and being promised better things when it’s re- newed. You know those big appealing dark eyes of hers? Well, they are bigger and browner than ever. Florence doesn’t disap- point one a bit ofif screen. Nay, she’s prettier, more vivacious than on it. She On this page arc some varied screen glimpses of Miss Vidor. “Any- thing so it’s acting,” confesses Florence. “I’m wild about the movies now. I dont care whether they make me a gypsy, a half-breed, a Japan- ese, a Belgian — or anything !” has a streak of deliberation, is a good reasoner, talks effectively, and likes to place her “character” in every possible environment and action, in order to decide what would be done in different circumstances. Probably this is one of the chief reasons for her success. “It’s rather unusual for a leading woman to use make-up for distinct characterizations ; do you like it ?” I asked. "Anything so it’s acting — I’m wild about the movies now. I dont care whether they make me a gypsy, a half-breed, a Japanese, Belgian — or anything!” laughed the little girl in a blue crepe de chine frock, with Brussels lace collar and cuffs. Anything is good on Florence Vidor. She couldn’t spoil her looks if she wore sack-cloth and ashes. She has a little humorous twinkle about her mouth, sug- gesting her ability to play comedy deliciously. Then there's the sadness of her eyes when she emotes, and one knows she can do heavy parts. Indeed, Cecil De Mille has used her frequently in parts which are hardly those of straight leads. “What helped you most in attaining your present acting ability. Miss Vidor?” “It wasn’t a WHAT, it was several big men in the profession. First there is the unfailing kindness of Mr. De Mille, and the helpful- ness of Marion Fairfax, who writes my parts as big as sjie dares, and who makes sugges- tions, talks her stories over with me, and is always ready to make a change which will give me a better opp>ortunity to bring out a point in the characterization. “Then, I’ve learned so much from Mr. Hayakawa that I could not begin to tell you about it all. I think he is the most wonderful {Continued on page 74) ( Forty-two) The house detective of the Ho- tel St. Swithin gazed at An- nabelle Leigh with mingled admiration and doubt. Wasn’t she delightful- ly pretty in her smart gown ? And hadn’t she just tried to cash a check for five hundred dol- lars at the hotel office, altho her bank account was already over- drawn ? John J. Mc- Larkey , the aforemen- tioned hotel sleuth, rubbed his chin thoughtfully. Across the ■‘Peacock Al- ley” of the h o s t e 1 r , (Forty-ihrn Told from the Scenario Based on Clare Kummer’s Comedy By FREDERICK RUSSELL utterly obli\- i o u s to his presence, sat the mysterious Annabelle, her piquant nose at a defiant angle. As he watched, two friends apireared, and Annabelle dashed 1 o r r ward to meet them with a cry of glee. “You’re late. Maryllyn.” she exclaimed. “ I’ve been wait- ing almost for hours, starved. Let’s rush in to dinner.” “Dinner lis- tens good to us,” laughed Maryllyn : ■‘doesn’t it, Charlie ?” "It wa.s Charlie w h o suggested it. ‘Poor chap, he looks so lonel\',’ Charlie said" MOTION PICTURL | The n e w - comer with the •^lightly up- turned mus- tache nodded enthusiastical- ly. Together the three hur- ried thru the lounge to the famous St. S with in din- ing-room of gold and blue. Some distance b e h ■’ n d came the hotel sleuth. The head- waiter wel- comed Anna- belle with en- t h u s i a s m . ■‘Everything is ready, mad- am,” he smiled, leading the way to a table laden with or- chids and spe- cial floral dec- orations. “My word, Annabelle,” said Charlie, beneath his breath, “you’ve struck it rich — you’re going it strong.” “Hardly,” replied Annabelle. ‘‘You haven’t heard the worst.” “If this is the worst,” sighed Maryllyn, “lead me to it. Listen, Annabelle, do you know that Charlie and I are both broke? Just now between us we barely scraped up the taxi fare outside the golden door of the St. Swithin.” A dazed look came into Annabelle’s eyes, and then she burst into giggles. “And I was going to borrow the money from Charlie to pay for this spread. I’m flat broke myself. My allow^ance is overdue for some queer reason.” “Good Lord!” exclaimed Charlie, nervously twitching his tango mustache. “Who’s going to pay for all this?” “Dunno,” said Annabelle, subsiding into giggles again. ‘Suspect it will be the dear old St. Swithin.” Meanwhile the dinner was being served. A passing glance at the roguish Annabelle would never have revealed her doubt of mind. Just one person gues.sed the problem — Mr. John J. McLarkey, pausing doubtfully at the door. “It’s going to stand somebody back about sixty bones.” said the sleuth to himself, consideringly. “I hope the lad with the hesitating mustache has the wdierewithal.” At the table the three were hastily trying to formulate a plan. “Stay here and keep on eating,” wdiispered Annabelle. “I’m going to look thru the hotel for a handsome young mil- lionaire or something. There must be a financially sensitive soul around the St. .Swithin somewhere.” Out into the lounge walked Annabelle pleasantly and con- sideringly. At first glance, the gathered St. Swithin guests looked quite unprepossessing. Besides, the few plainly affluent gentlemen had dowdy ladies — their wives — naturally — in tow. Suddenly in a corner, at a writing desk, she noted a hand- some clean-cut young chap. He was bu.sily engaged in writing, ■‘,\nnic Postlc- w a i t c lied Annabelle glibly but Annabelle quickly recog- nized him as John Rawson, a mine owner, reported to be fabulously wealthy. Annabelle walked leisure- ly across the room to the desk and paused doubt- fully. Rawson glanced up and hastily jumped to his feet. “Would you like to use this de.sk, madam ?” lie inquired. “My letter- writing can wait.” “No-o-o,” sighed Anna- belle. R a w- s o n Miiiled reassur- ingly. “Of course. I know who you are, Mr. Rawson,” Annabelle went on, rapidly. “I — we — thought you looked lonely and we’ve decided to invite you to our little party.’’ i Raw.son looked about doubtfully. “It’s in the blue and gold room,” smiled Annabelle. “In fact, we’re already eating. | But wont you come? It was Charlie 'who suggested it. ‘Poor | chap, he looks so lonely,’ Charlie said. And they made me come to invite you because — because ” “Because you w'ould have considerable influence,” smiled , Rawson. ' Back in the blue and gold room, Annabelle led the mine- owner to her orchid-laden table. “He came, Charlie,” ex- plained Annabelle to the upturned mustache one, her left eye- lid wavering just for the fraction of a second. “You were right about his being Idnely.” Whereat Rawson seated himself. Charlie breathed an audible sigh of relief. Every one knew of the mine-owner’s enormous wealth. Maryllyn leaned back comfortably. .And -Annabelle beamed. Back at the door, Detective McLarkey sighed with relief, too. “Sure, the manager’s a boob. The girl — Lord love her! — is all right. What do women know about checks, anyway?” For McLarkey knew that Rawson could buy the St. Swithin if he wished and take it home with him as a Christmas present for his manager. Back at the orchid-laden fable, Charlie was insisting, not with undue firmness, however, that the check be given to him. But Raw.son had seized upon it and given it, wdth a hundred- dollar note, to the waiting < waiter. “This is my lunch,” smiled the Westerner to the , piquant Annabelle. “Haven’t YOU kept me from being lonely?” At that psychological mo- ment, to use Annabelle’s own words, a bell-boy, paging “Miss i Leigh,” appeared upon the “GOOD GRACIOUS. ANNABELLE !” .\ilaptcd from the scenario based on Clare Kummer’s comedy. Produced by Paramount, .starring' Billie Burke. Directed by George Melford. The cast: .Annabelle Leigh John Rawson George Wimbledon Ludgatc I \ ,^Fcrtu /'our i CLASSIC scene. Annabelle hurried back to the lounge, to find Harry Murchison Avaiting. Murchison was something of a friend of both Maryllyn and herself. “Good gracious, Annabelle,” burst out Mur- chison, “I’m being sued for divorce.” “Condolences or congratulations?” inquired Annabelle. “Dont be funny, Annabelle,” snapped Mur- chison, “because you’re the corespondent.” “Corespondent!” exclaimed Annabelle. “How — why ” “Dont ask questions,” interrupted Murchi- son. "I dont know’- how on earth she’s doing it — but she is. That’s why I rushed here. They’re going to serve you with papers, and your only chance to escape going to court and everything is to go away at once. I dont dare talk another second. If they found me here it would be all over with your reputation. But go some place until it blows over.” With that Murchison disappeared. Annabelle dropped helplessly into a chair. Murchison's fat and jealous little wife couldn’t have picked a worse moment to launch her thunderbolt. Here .she was, flat broke, and scandal galloping towards her, perhaps just around the corner. Suddenly voices drifted to her dazed ears. Fi- “Of course, it’s all nally she pushed aside her mad thoughts to listen. married “Its this way,” a now!” “Annie, wherc’d you get tha: last name, Fostle- waite, or whatever it is?’’ pompous-looking man was saying. “I’m valet for George Wimbledon — you know, the Wimbledons of Long Island. I’ve been up today to find a good cook and a gardener, and here I’ve spent nearly the whole of it touring the agencies. And not a one have I found.” Ludgate went on to tell his troubles, while an impish smile flashed across the face of Annabelle. Finally she giggled enthusi- astically. She watched the valet until the other man had left him and then hurried across the lounge. “You are Mr. Ludgate?” she said. “I overheard your remarks to your friend. I’m looking for a position— as cook. In fact, I’ve just left my last place and — and— hap- pened in here to rest before I went to another agency.” Ludgate studied Annabelle with startled eyes. You a cook, ma’am ? I’d never have thought it. You must have made a fortune making munitions.” “A little,” said Annabelle, roguishly. Moreover, I have two other friends who are looking for jobs, too. One of them is a master gardener.” “Fine !” said Ludgate, pompously. “I’ll be glad to talk to ’em.” “Fine!”, said Annabelle. “I’ll get ’em. But first, do I get the job ?” “You’ll do, Miss — er ” (Fortufire) . I A\(n i()N PlC'l l RF. Cl.ASSlC Ainiabelle was sitliuii i 11 her room three liours later when she realized that the whole estate was in a hubhuh of excitement ■‘Annie J^jstlew aiie,” lied Annahelle She hurried back to the table. ka\v>on had gone. •' I hev've iust paged him,” iNIaryllyn explained; “heS coming liack im- mediately.” ‘‘Listen,” explained .\nnabelle, hastily. ”1 m being named as corespondent in a divorce suit being started by Harry Alur- chison’s fat little wife. Of course, it’s terrible, and I've just got to get away, so 1 wont be served with papers and things. lUtt I didn’t know how I could do it until just ti moment ago, when I signed uj) as cook for the Wbmbledons of Rock Point. Long Island.’’ “Cook?” said Charlie, aghast. ” You’re joking!” “I'm not, ” .sna|ii)ed -\nnabelle. "I’d rather cook than sit in a courtroom tnd have that Mur- chison cat think she was hurt- ing me. So 'A ou're all engageil, announcetl 1 .udgate. “Mind yrm, meet me at the Pennsylvania Station at 8:15. 1 shall have the tickets, llnng everything. You will start work tomorrow morning.” "\’es, sir.” said .'Annahelle. "I’m right glad you hai)i>ened to overhear me talking, Miss I’ostleu aiie,” concluded the valet, smiling heavily into the im]>udent eyes of the new cook. Ludgate had hardly ) l in starting for mv new wfvrk tonight. Aow think fast. You’re both broke, 'riiis Ludgate valet person w'ho hired me wants a gardener, d'hat would do for you, Charlie, and T think he’d hire you, too, Maryllyn, as a maid. Let’s all go down and try out the adventure.” ^ “It’s ripping!” exclaimed Charlie, enthusiastically. Im for it. It’s jollv and all that sort of thing.” .\nnabelle ushered her friends into the impressive presence of Ludgate, who studied them critically. \ou /icii'i? been making money.” he remarked. “I ve heard that munitions jiaid well, but 1 never realized it before. Well, the war’s over and you want to come back to your old work. Fine, fine! Phat’s the spirit.” He paused to consider Charlie critically. "You’re a good gardener?” "Know it backwards,” answered Charlie. “Orchids and all that sort of thing.” gone when Rawson appeared. Charlie and Maryllyn excused themselves, leaving the millionaire alone with Annabelle. “I’ve a favor to ask of you,” began Annabelle. “I’m going out to Rock Point, L. L, and I’d appreciate it if you would see that the hotel sends my things out there in a rush.” They say that fate is a queer and fickle creature, but she surely took a hand in the adventures of .\nnabelle. Seeing the hotel detective, McLarkey, a second later, Rawson called him. .“Will you send up to M'iss Annabelle Leigh’s apartment and see that her things are taken care of properly? She’s going to Long Island. Here are ten dollars to cover any expenses.’ “You’re just the man 1 w'ant to see,” responded the sleuth. “You said a few days ago that you’d like to rent a place some- where in the country. I’ve found it for you. A friend of mine, a Mr. Ludgate, is willing to rent you the country place ( Coniiiiiti'd on pai/e 7.1) (Forty-six) Just now Gloria Swanson is coming into decided i)roiniticnce with Paramount. The fact tliat Gloria was born in (Chicago shouldn't be held against her, siiice .she went all the way to Portattle scenes are / / adequate. S\Kia l^reamer ,/ i" singularly beautiful at , times as Mrs. Palmer — when ' she isn't wearing singularly costumes. Herbert Kaw- ■ linson is a masterful Palmer and Huntley Gordon rather colorless Wadsworth. Little IBlackton makes ^ stand out*. Hut “The Common Ciaiise" would ^ not startle because of its weakness ' of stor\ — even if timeliness had / nothing to do /Hiother photoplay hurt hy the Kaiser’s lack of foresight continu- mg the w'ar was Goldwyn’s adaptation of Rex “Too Fat to Fight,” with the rotund Frank Mcln- starred. Based on story fresh ^ off the CosinopoUtan press, “Too Fat I to Fight” tells of a fat American, too I . heavy to get into regular serr ice. who finally “makes” the Y. M. C. A. Every one has laughed at I ^^B 'when he proves ^^B bravery battle, ^^B of to be -And, of course, he wins the in- evitable ingenue, serving as a Red Cross nurse. Goldwyn went to a lot of expense to make “Too Fat to Fight,” and it was mighty unkind of William Hohenzol- ern to give up just at the moment of releasing it. .At the Rivoli he audience looked at it rather listlessly, when, a few days before, t would have made a smashing hit. I The gentle atmosphere of “Little W’omen,” (Paramount), • ‘ T h e Hell Cat” without gi\- ing offense, but yx the story does not possess grip or punch. The best that x can be said of “The • '' Hell Cat” is that it pre- sents Miss FarriTr to better ad\antage than she has been presented in some time. Tom Santschi as the villain and Milton Sills as the faithful lover ha\e little real oppor- tunity. “Borrowed Clothes,” (Hni- \ersal), arriving just at the moment the star, Alildrcd Harris, had married our own Charlie Chaplin, attracted more attention than would otherwise have been allotted to it. “Borrowed Clothes” is fearful stuff, the plaintive tale of a poor, persecuted shopgirl who is tempted with beautiful clothes by an un- scrupulous young fellow'. Eventually the chap reforms and marries little Mary. The whole development of the story, from scenario writing to Lois Weber’s di- rection, is false and untrue. It is far from life. Riiilit, Madge Kennedy in “A Perfect Lady.” Below. “Little Women, ’ with Dorothy Ber- nard as Jo Ws of youth form the incidents of le story. Director Harley Knoles as developed the quiet little theme n the whole with sympathy, altho he as missed out here and there in ■ying his effort to cram in every- ling. This has meant the slurring f some of several characters. Doro- ly Bernard is delightful as Jo, and onrad Nagel is a very likeable aurie. The best thing about Willard lack’s “The Hell Cat,” (Goldw'yn), the way Geraldine Farrar photo- "aphs. She hasn’t celluloided so ell since “Joan the Woman.” therwise “The Hell Cat” IS a hec- C story. Miss Farrar plays the ish-Spanish daughter of an old mchman. An untamed savage of a an is fascinated by her, murders ;r father and takes her to his hut. ► Itimately she revenges herself by unging a dagger into the scoundrel’s :art. And, of course, the main she ves 'comes to her in the end. So ey start anew, forgetting the past. Director Reginald Barker and Mr. f.ack have succeeded in getting thru (Fifty-one) Big Duncan Once the Vitagraph serial star was an instructor with McFadden’s physical culture school and, later on, he toured the varieties with Sandow, the strong man. Then he decided to relax and be a mere actor. But even that palled. Next the movies came along, and as they permitted the mingling of muscles and histrionics, Bill went into the game with a vengeance —m 11 1 1 I (Fifty-two) “ A COLLEGE education is like an auto, it JTx you there and it may not, and often plain horse-sense will pass it oh the road,” Maggie Pepper remarked, curtly. “I dont know much about geome- try or Greek verbs, but I do know suits.” Hargen, manager for the Hol- brook department store, indulged in a sneer W'hich lifted the corner of his small black mustache disagree- ably. He was one of those who wear their paltry authority like a hired dress-suit that does not quite fit. Brides, he had an old score to settle with this pretty shop-girl, who had long ago given him to understand that he was persona non grata as far as she was concerned. “Unfortunately, you are too late. Miss Pepper,” he said, suavely. “My sister, Alice, has already picked out some one for the place — a friend of hers, I believe.” Maggie Pepper stared at him bewil- deredly. For two years now she had hoped and planned, worked with an earneot- ness ridiculously disproportionate to her meagre wage for this promotion until it had become a part of her. She drew herself together, quivering, ready to fight at bay for the child of her brain. “You cant sell suits as if they Then followed en- chanted days, colored by the memory of boat rides to Coney Island jjtionized from the Scenario |;5ed on Charles Klein’s Play By )ROTHY DONNELL Fifty-three) were MOTION PICTUR potatoes or prunes. You gotter know them linings and buttons and pure wool and mixed ! You got to be able to see ahead, instead of looking back- ward and wondering why that lot of brown velour checks didn’t go in a stripe season, and why women would’t touch the bunchy gabar- dines that make ’em look three inches bigger around the waist ! See how the department’s been running behind this season. Why, Tracey’s sold four suits to our one, because they’ve got real salesgirls instead of friends of the manager’s sister ! I could make the suits and coats the biggest thing in the store — in the city! I know just how I’d do it — new plate-glass cases, French gray fitting-rooms, a couple of models, maybe, and modern fixtures. Why, the forms you got now are the same ones Eve saw when she went to look at the latest thing in fig-leaves!” She had forgotten herself in her flooding enthusiasm, and her voice, raised above the limits of painfully acquired ladylikeness, pierced thru the flimsy office partition to the ears of the young man who had been about to push open the gilt-lettered door. His companion, a girl who wore her sex flauntingly on her sleeve, laughed pettishly and pulled at his arm with an air of con- scious proprietor- ship, ” W h y John has anv words Without a word she sprang at him, dragging the hand that held the pis- tol down with all her slender strength with those common, impudent shop-girls! I wish he’d fire evy one of them. You cant tell me anything good of girls who di .^ as well as they do on twelve a week.” The door opened stormily and Maggie Pepper hurried t and straight into the young man’s arms, blind with slow, rel - tant tears. He caught a glimpse of bright hair, drooping scaiit lips, white cheeks a shade too sharply outlined, a chin that mi t have been a man’s, a throat that could never have been anyth ? but feminine; he felt the warmth of her slim body, and she \s gone, leaving him staring after her until his fiancee’s voice, ac- sweet, sounded in his ear. “Of course. Joe, if you’re not coming ” Frowning, he followed her rustling silks and jeweled hatp 5 into the manager’s office. He was conscious for the first ti t of a vague wish that Alice wouldn’t use so much patchouli, al that transparent blouse was so obviously seductive. “Well, Holbrook,” Hargen smiled, with a sort of uneasy fan- iarity, been taking a look around, eh ? How soon are you going) drop the incog and take to grinding out little gems of thought 1- your employes, such as, ‘Every Smile Makes a Friend,’ and ‘T liteness Our Sales Insurance Policy’ ?” Joe Holbrook thrust big hands into 1; pockets and jingled some keys there, “What were you doing to that girl tl: was just in here to make her cry?” ; asked, bluntly. A swift glance passed between Harg. and his sister, and the small black mustac: In her pretty sitting room she clasped Claire to her breast. “Your old auntie has been foolish, but she’s going to be very, very wise from now on I” she told her ( Fifty-fouTj CLASSIC slanted insinuatingly, “,'^he was impudent and I lired lier,” he explained, smoothly. “Trying to tell me how to run the store! If I hadn’t been such a soft-hearted donkey J’d have sent her away long ago. Her sister was caught shop-lifting here last April — had a couple of mink mufifs speared on each leg, and her daughter, who was with her, was wearing a four hundred dollar set of squirrel. They let the kid off, but the woman’s in the pen for a year. A bad lot !’’ “Oh,” Alice shrilled, “how awful ! But it was easy to see what she was.” She opened her bag and apj)lied a small pink puff to her cheeks with the aid of the mirror inside. “Joe and [ are going over to the Cosmos for lunch, John. Want to come along?” “Excuse me one minute,” Holbrook said abruptly. “I’ve something I want to do first.” They saw his broad back disappear thru t h e doorway, and Alice flung her bag tem- persomely to the floor. Her prettiness had vanished, leav- ing her sinali, highly colored face marred with fine lines of malice and cruelty. “Now you’ve done it, you fool !” she said, in a sup- pressed tone. “He’s going to take her back. I hate women with yellow: hair and baby blue eyes — they can al- ways wind a man a r o ii n d their little ‘fin- ger ! The first thing I’ll do” — she gestured vindictively — “the first thing I’ll do w'hen Joe and I are safely married is to fire that little blonde cat !” “But until you're married,” advised her brother, “you can afford to forget and forgive anything. A fit of temper might be exi>ensive, Alice, to the tune of tw'o and a half millions.” In the deserted .suit depart- ment Holbrook found Maggie putting a pile of dejected-look- ing suits on hangers, as one might lay aw'ay the garments of a dear dead child. He .stood a moment in the shadow of a cloak rack, w'atching the square, capable hands at their work, noting the resolute set (if the small, grim little chin that would not (iui\er in sjiite ol the tears that drijiped down onto the jilain linen shirtwaist. I'here was something gallant .about the ]i(d.se of her. something ca] table and strong. ‘T beg your pardon ” She did ikM start, but looked at him without stopping in her work, and, seeing his friendly smile, her face grew hard. “No,” she said, grimly, “I’m not your l.ittle Bright Eyes, and I dont want ;in auto ride in the park nor supper at .'^berry’s nor an ice-cream soda. I talk suits from eight to six and T think suits from six to eight, and my motto is ‘.Strictly Busi- nes.s’ ” I o e H o 1 - brook inter- rupted. “That ‘suits’ me !” he laughed. “You see I happened t o o v e r h e a r part of what you were say- ing to J o h n Ha r gen just now and It in- terested me. I wish you'd tell me your idea for m a k i n g over this de- partment. I’m — cr — in the selling line my- self, you see.” Instantly the ice of her man- n e r melted. She looked at h i m w i t h a blue glow' in her gaze and '•wept her hand out in a ges- ture of expla- nation aliout the bare, bleak room. “C.'iivt }■ o ti .s e c h o w wrong every- thing is? 'S’ou cant slam suit'" at a woman-- you’ve got to coax ’em ! .\ pi.'icc like this makes them feel i)oor tind stingy and disagreeable. Tliev make up their minds l>efore they see a suit that it wont fit. and the color isn’t becoming, and, anyway, maybe they can iix u|) the old one to do another season, now that eggs are so high. I'd finish the show-room with wick er and rose silk curtains ;md lamps and flowers so it wouk! flatter them into tlunking thev were milhonaires. Td ” Breathlessly she swept on from point to point (.if hei creed of suit-selling, amazing him with her acumen, her un conscious insight into human foibles and weaknesses. Un tutored as she was. her scheme was sound, and he suspected that it was e\en brilliant. (Coiifhiucd on paijc (iS) “Not — me.^" -Slid Maggie keppev f.aiml\, “^'on (■(luhhi't mean me M.XtiGlH PEPPER Adojited f(.)r the scenario of Gardner limiting, hased on Charles Klein's drama. Produced !)>• Paramount under the direction of Chester \\ ithc\'. Starring Ethel Clax ton. The cast : Maggie Pepper lithel Clayton Joe Holbrook Tvlliott De.xler .\da Darkin Winifred Greenwood Sam Darkin Tnlly Marshall Claire Darkin Edna May Wilson Jake Rothschild Raymond Hatton John Hargen Clyde Benson .Alice Keane Marcia Manoh Mrs, Thatcher Fav Holderness ( Fiftii-fivc j The Extra Girl Invades Mimic Boarding-House By ETHEL ROSEMON some one |)lease pajfc \Vi (ilaflys surprises J)i- rector Gleason aiul camera-man J u 1 c s Cronjager li.\' emerg- ing from an ash can. yfc/ore, an example of music soothing the sa\age star iss I.kslik! Oh, Miss Leslie! my star?” "I'he camera was waitin^^ — so were we. A look of an.xiety was beginning to creep into Director Joseph (rleason’s face as he gazed intently down the Vitagraph corridor. .Suddenly there was a gurgle of mischief, and slowly from a refuse can that was reposing just off the set ap])eared the golden head of the original “glad girl.” ‘‘Were you waiting for me?” she asked, innocently. "1 was trying to find out how it would really feel to be .soine- ihing some one had thrown away — for instance, i n old glove or a tomato-.soup can.” “Well, now that you know, how about a good imitation of Heth mopping up the boarding-hou.se stairs?” laughed M r. Gleason. You have guessed it, faithful followers of my film fate — I am back at my starting-place. For weeks, even months, 1 tried to return home to roost, but alas ! every perch was always filled, and then, one evening, just " ’twixt the dusk and the daylight,” 1 met Director (deason. When he answered, “Yes, I am casting for my new ])icture,” I looked at him with that dazed exi)re.s.sion you have often noticed on the countenance of a jelly-fish when brought face to face with a dish of blanc- mange. Of cour>e, I expected to hear him add, “Hut you’re not the type T need.’’ Alarm crept into mv heart as the old familiar words failed to fall upon my waiting ear. I had yet to discover the huge bum]) of originality that hides somewhere behind Mr. Gleason’s smiling (Fifty-six) It's All in the Filming of Gladys Leslie’s Latest Photoplay face. A look of understanding passed between the director and the star, who was, fortunately, just studying the script-- and Ip! I found myself engaged as a boarder in Mrs. Ganii)’s Maisnii dc Hash — no references required. I like the boarder character better than any other role in which I have yet been featured. Perhaps it was the friendly I’m-glad- vou’re-here spirit that went, from the star right down thru the little company. Before the first daj' was over 1 felt that I had known every member for a long time, and now that the engage- ment is ended I am just waiting for Mr. Gleason to start another jiicture for perhaps— but that will be another story. Jessie .Stevens conducted the house at which we' were jiaid so much a day to board. .She was one of those ton.s-of-prevention landladies who personally preside at each meal. The table may at one time have groaned under the weight of steaming dishes, but when we gathered around it had become Herb Hoover’s pet grandchild. Glady’s, as Beth, the little slavey, did all the work of the house and, according to the rules laid down for moving picture .slavies, was the butt of the ill-will of mistress and boarders. If the hash was burned, it was “up to Beth,” but if it wasn’t — well, it was just luck. We all had to admit, tho, that it was really her faidt when, the first day, she became s(j interested in Denton Vane, who was playing Superstitious Louis, that she gave him a bath of tomato soup. (Continued on pcujc bO) Above: Denton Vane j)le:ids with Gladys to give the camera-man a chance, while, below, Miss Leslie listens to Author Lawrence McCliisky and Director Glea- son disenss some stunts. (Fit ty-seven) Double Exposures Conducted by F. J. S. ROBABLY by this time the fate of the -Kaiser has eeu decided. But if it hasn’t, still submit our original sug- gestion : sentence him to look at all the Kaiser pic- tures produced during the war. Now that 'he war’s over, there’ll be no more h ters to the Slavs from the trenches via llie publicity oftices. no more pictures of stars will be found tacked up in dug-outs, and no more actors will be planning to go across — .soon. We've always believed in conservative screen advertising. Thus we pleasantly note the lines boosting “1'he Tidal c’ave" ; “Jvvery reel detonating with substance for a super-i)icture ! Every one of its leading characters of irresis- tible attraction ! Jvvery one of its more than a score dramatic situations big enough for the big spot in an)' spectacu- lar drama! (let on your toes for a first look at tlie most absorbing ! most timely ! ! \ivid!!! stu])endous ! ! ! ! thrilling screen wonder jilay of the year!” Tinxps \VT cling to Hoovtckizi: On Mitchell Lewis’ under lip. Last month a photoplay was produced ^vhich wasn’t written by ,\nthony Paul Kelly. IMontc Kalterjohn has just mtule his monihly annonneement that big, vital film draintis are coming and that the da)- of the doll-.faced ingenue is ]);issed. Now comes “Tlie IMarried X’irgin,” with this enticing billing; “The handsomest lounge-lizard that C\'nno wiOi an awr.'i^'c iniinl can learn itnirl'l) to tin exactly tin- •»anie thinj^s which scent so niiriu nl"ns ulien I do them.'* ’‘M\ M\\ n nK’inory,” c(nitinneou haM- mven years to it. lint Imw ahout nie^*' “Mr. Jones.” ho replied, “I can teach vnn the Mcr'.l ol a Kood mentnry iti one evening. I'his fs n>*t .a KUes.s, iu-caitse 1 have «!one it with thousands of pupils. In the hrst ot seven simple lessons wliii h I h:i\e prepared for home study I show you the basic principle of my whole system and you will find it — not hard work as you might fear— but just like playing a fascinating game. I will prove it to you.” He flidn’t have to prove it. His Course did; I got it the very next day from his publishers, the IiKlepcnd* cut Corporation. When I tackled the first lesson T was surjiriscd to find that I had learned — in ahout one hour — how to remember a list of one hundred woials so that T cotild call them off forward and hack without a single mistake. ’I'hat first lesson stuck. And so did the other six.^ Read this letter from C. Louis Allen, who at ?>2 years became Tiresidcnt of a million dollar corporation, the Pvrenc Alanufacturing Company of Xcw York, makers I'f the famotis fire extinguishers: ‘■N«>w tluit the lliith Memorj’ Uinjrsc Is finished, 1 warn !«► tril y()u how mueJi 1 liave enjoyed the study • ►f till's most faselmulng t*sually these emirs<>H involve a >4Teat deiil of dnnlgery, but tlii.s has I'.eeii pun* pleasure all the wa.v through. I have • Uriveil much t»eiu‘rtt fnmi taking the course of in- and feel that 1 sliall eonlliuje to streiigtlieii niy ineruory. Tliat is th«‘ best part of it. I .shall Iw gla feet at ihc club, or at a han knows how to make it w le, and easy a- falliuK "If a l‘>« Vit witli one hour a da.v ot lu'ai'l U'«', anyone I ilon'r eari- v»lio be is «‘an iiiii>ro\e )ii-i nieiiion- inn per itiu in a u'<-{ k ;uid loon ju r t'l.nt in si,\ iiionihs.’' .\1 \ advice to .vni is don’t wait amdlier minute, .^end to Indepemlcnt ('orporation TiU' Mr. Roth’s amazing course and .'^ee wh;it a vvomlerful metnory yon have gnU N'oiir dividends in ii:ci\''iSi.'d luviiiiif/ /'otcer will he enormous. \'I( T( )R JONKS What the Course Did For Mrs. Jones Mr. .Iiiii.s tells us. tlic Kr.tli .\Uiiu;ry jusl .-IS 'wi.iulcrlul tluMi-.s for Mrs. .fonos. l-'roin ( onrse . . ^ . She Ix camo faseinjiU she became a leader because her fell nw members could count on her to conduct club matters with a clear head and in o 'tIv procedure. In her social life Mrs. Jonvs began to win a pO])nlarit> that she had never dreamed of attaining. The reason was easy to understand — because she never forgot a name or face once she was introduced — and this als-' made her a successful hostess — much to the wonder ot her friends. In short. Mrs. Jones, in developing her own perfectly good memory, discovered a secret of su>. cess not only in housekeeping, but in lier social life. Xow we understand the Roth Memory Idea 1*1 goi’u like wildfire among Mrs. Jones’ friends — for she has Iv*. them into her secret. Read the following letter from Mrs. Eleanor IMiillips, State Chairman of the Tennessee Woman'- Liberty Loan Committee: ' 'KueliTM'il plca.so fliul check for ?•'» for Menjoo Uourse fi»rvva.r(l<'«l me. This eoui'se. to iiiy mind, 1^^ lip* most woudi-iful thing of Its kiiul I have ever hoard r.f. aiul eome.s to lumd at a llmv when 1 »uHMi it ifroatiy. “.Vs uhainniui for the Stato of Toiinos.seo t'jir \V( iiuiu's kilH-rly I.oaii ('oinmittoo. it is voi-y noe.e.s- sary for mo lo romoinl)or the namos of thou.sands <»f womon, and with tho very little aonuaintiuioo 1 hav.- Iiao 1 find mv monj(»r.v jjronlly stronglhonod. I fool .sure that after havin« o«aiiplotcti tin* oourso 1 will l>o able tu know ni.\ womoii Hinl tho oountlos thoy ai-o fre.m tho minnii* 1 Hoo thorn. *’ Send No Money •So confident is the Independent Corporation, tho publishers of the Roth Memory C ourse, that once you have an opportunity to see in your own home how eas> it is to improve your memory ])o\ver in n. few short hours, that they are willing to .on ‘ t* write a letter anil the complete course will be sent, all charges preiiald, at once. If you are not entirely sati> lied, send it back any time within five days after yon receive it and you will owe nothing. < In the other hand, if you are as ideased a.s are ti;*- lliou'^aiuls of other men and women who have used th<- course, sen lass Ingtttm’s MilKw^ed CtSatn Ethel Clayton Tenderly helping to care for wounded officer. **The Mystery Girl** Paramount Picture Nature often provides a beautiful complexion, but it cannot be depended upon to keep that complexion attractive without assistance from you. Even noted beauties realize this and give their complexion untiring care. Every day you should use Ingram’s Milkweed Cream. It is softening and cleansing and it guards the delicate fabric of the skin texture from the effect of cold and wind and dirt. Its distinctive therapeutic property keeps the skin in a healthy condition. Get your jar today. Eitglcwood, A'. Aug. ;,j, igiT. F. F. IXGRAM CO.: I find that Ingram’s Milkweed Cream does just what you claim for it. It conserves one’s complexion per- fectly under the most trying condi- tions. / would not be unthout it. Buy It in Either 50c or $1.00 Size Mail Coupon REDERICK F. INGRAM CO. 83 Tenth St., Detroit, Mich. I enclose a dime in return for which please send me our Guest Room Package containing Ingram’s Face 'owder and Rouge in novel purse packets and Milk- reed Cream, Zodenta Tooth Powder, and Ingram s ’erfume in Guest Room sizes. Ingtiim’s rSouvcrainc FACE POWDER A tomplexion powder espe- cially distinguished by the fact that it stay on. Furthermore a powder of unexcelled deli- cacy of texture and refinement of perfume. Four tints — White, Pink, Flesh and Brunette — 50c. BngtSmTs jPouye "Just to show a proper glow” use a touch of Ingram’s Rouge on the cheeks. A safe preparation for delicately heightening the natural color. The coloring matter is not absorbed by the skin. Deli- cately perfumed. Solid cake. Three shades — Light, Medium and Dark — SOc. cnetv i' Beaut\ ^inl^y FREDERICK F. INGRAM CO. Ettablithed 1885 Windsor, Canada 83 Tenth St., Detroit, Mich., U. S. A. Austrslailan Agents, T. W. Cotton, Pty. Ltd.. Melbourne, Australia. (13a) ( Sixty-m) Milk^ed Ct^atn (•35) ?TTTYTl'\T?llllT^lWrT^'^'^'^'1^7TniTTrn-iy7TN-TnTr bhirley Mason “It’s ‘Goodbye Bill’ for good, if Shirley’s dainty little finger lc:tns too hard on the trigger.” *‘Gosh Darn the Kaiser** 'ry'TxOh-it PictuT The raw, rough winds of winter will play hav with your complexion unless you give the skin proper care daily. Cold, as you know, coarsens the texture. Wind roughens and reddens it. You owe it to yourself to use Ingram’s Milkweed Cream, not once but twice a day during inclement weather. This famous gream, which has been the favorite of beau- tiful women for many years, not only softens and cleanses the skin but has in addition a distinctive therapeutic effect upon the tissues. It actually tones them up and keeps the skin in good condition. Ask for it by its full name at your druggist’s. Buy It in Either 50c or $1.00 Size Ingthm's rSouvcrainc FACE POWDER A complexion powder espe- cially distingruished by the fact that If atay* on. Furthermore a powder of unexcelled deli- cacy of texture and refinement of perfume. Four tints — White, Pink, Flesh and Brunette — 50c. Jt\gt&m‘s “Just to show a proper glow” use a touch of Ingram’s Rouge on the cheeks. A safe preparation for delicately heightening the natural color. The coloring matter is not absorbed by the skin. Deli- cately perfumed. Solid cake. Three shades — Light, Medium and Dark — 50c. FREDERICK F. INGRAM CO. Ettabliahed 1885 .Windsor, Canada 83 Tenth St., Detroit, Mich., U. S. A. Australasian Agents. T. W. Cotton. Pty. Ltd.. Melbourne, Australia. Mail Coupon FREDERICK F. INGRAM CO. 83 Tenth St., Detroit, Mich. I enclose a dime in return for which please send me your Guest Room Package containing Ingram’s Face Powder and Rouge in novel purse packets and Milk- weed Cream, Zodent.i Tooth Powder, and Ingram’s Perfume in Guest Room sizes. Miss Shirley Mason is another famous star of the screen stage who states that she “prefers” Ingram’s Milkweed Cream. ( Sixty -three) MOTION P1CTIIR1-. ustr-iteuwm Educate your nails Exquisite nails are the reward of training. “The Better Way to Manicure’' tells how to give your nails the charming shape and finish you have often admired on others, without cutting the cuticle or removing it with injurious acids. Your copy of this instructive book, with suffi- cient Lustr-ite Cuticle Ice to soften and train your cuticle, will be sent you free on request. The five essentials for manicuring the Lustr-ite way are: Lustr-ite Cuticle Ice Lustr-ite Nail Bleach Lustr-ite Nail Whitener Lustr-ite Salve Enamel Lustr-ite Nail Cake On Sate at Alt Departvient ami Drug Stores The Lustr-itf" Corporation Brooklyn, N. Y. $25,000 for 30 Minutes That’s how long it took Geo. M. Cohan to write “Over There” and it was sold for $25,000. Have you a good song poem, you would like to exploit?! Send your poems today for be>t offer and immediate publica tion. Free Examination. Music composed. ExpiauR tory Bo(jklt*t feni on request Aullws' & Ccmposeis' Service Co. 5>ulle 017 1433 Cioadwav, New York Stop your cough before it stops you! Save needless doctor bills. You can stop the incipient cold and the heavy, rasping cough with They jjood— they are ffood for Iho whole family, from the naby up. For Beventecn ycar-i, millions of us4*r3 have been provinK’ it. Got them anywhere from coast to coast. Good for the Throat- Bad for the Cough. DEAN MEDICINE CO. Milwaukee. Wia. I The Heart of Wetona — ! above her. His rciircssion fastened ^ abont him like a cloak, shrouding him in .silence. .'>hc knew that rejiression. She I understood it because she was of him ' and of his iieople. .She feared it because I she was of the East and her mother's I peojde. , I'hey .stood .so for a long time. 'Fhen ' Ouannah began to question lier again. Ivach word smote her shuddering tlesh like a missile. .\t last he got from her that the man was not of their jicople. Me was, she said, a white man. Quan- I nah pressed the advantage he felt he had gained. But Wetona was mute. She had told all that her heart allowed. “I I never tell name,” she said, and her tears soaked into the earth her head was pres.sed against and went to join the sob- , I ling, restless waters of the river. “1 never tell,” she said. j Ouannah left her there. After he had • gone Wetona slipjied from the wood i with the unexpectedness, the agility of a deer. She knew her father and she knew the Comanches. It would be death — death by slow torture. -She was the daughter, the outraged daughter of their , chief. The purest blood of the jiroud Comanches had been violated in her I veins. Yes, it would he torture. Tor- ture! And it would be slow, very slow, and cruel — oh, cruel! Wetona shud- dered. Not for herself. She could stand torture. She felt that she could stand it. Often it seemed to her that she cC’o.Y tortured, had been tortured, ev'er since she met Tony WelE and he had awaked within her this fever which con- sumed her. It was fever. It was con- i .-'liming fever. And it would not let her ; he. It drove her to strange ends, forced I her to commit strange sacrilege, it tore down traditions with hot and vandal ^ hands; it smirched modesty in her white face : it brought the head of \\’etoiia to , tlte dirt where her heart was wallowing. It was for Tony WelE that she shud- I dered as she sjied thru the night to the white miin’s jilace. .She knew that fear made a baby of him. He would he dire- fully fearful of Iter father's threat. ( )n the way she bethought her of John Hardin. Big John, who could do more with the Comanches than any agent the I re>er\ation had e\er had. Joint liked her, too; she felt intuitively certain of 1 that. i John Hardin was smoking his i>ipe iit ' his iirofessionally littered oflice when Wetoita sped o\er hi,-- sill and stood bc- I fore hint. Just Itefore her contiitg he : had felt sad. sad and depressed. Ever ! since Wetona had left the Coinancites to j go to her Eastern college, aitd he had ! secit her standing on the platform of the I train, blue eyes hrilliattt in her goldeit face, he had treasured her ntemory-to j the point of juitting all other ntemories front hint. “Soitte day, ’ he had prom- ised himself, “some day she will conte back. She will be a woman grown. A wonderful wontait. .She w'ill he strong' as the lusty young pines aitd swift as the torreitts of the river. She will have the ( Cotitisnicd from piujc 3.^) blade -keenness of her father’s people and the soft tenderness of her mother’s. She will be a bride worth wooing, infi- nitely worth winning. She will be mine.” He rose when she entered and stood looking down on her from his superior height. “Something is wrong?” he asked, kindly. Wetona drew a long, shuddering breath. “Very wrong,’’ she got out. “Next week Corn Dance. I was chosen for Wstal Virgin — I — oh, Mr. Hardin, the tribe — it — they go for Tony Wells. Tdease, ])lease, if you care for me so very , little hit, please not let them take him, Tony Wells. Please. If they take, We- tona die — tonight ” John Hardin knit his brows. She had torn a dream out of his heart that had been the finest he had dared to create. Well — “Of course,” he said, “what I can do I ” He got no further. Quan- nah stood on the threshold of the room. His lips were drawn away from his teeth. His eyes glinted white in the deepening gloom. When his voice came it was a snarl, with a tang of red blood to it. Quannah was already, figura- tively, on the warpath. “You he,” he spat forth, ambiguously, “you. John Hardin. We swear by John Hardin, poor fool Indians; we say he . keep faith, this agent, he white man 1 clean to his bone. All time you vile, you | low ; you take chief’s daughter and make street thing of her. Come, Quannah fight. Quannah fight this honorable John Hardin for his daughter’s honor.” John Hardin had dealt with Comanche Indians a great many years. He seldom made a misstep. He knew that if he fought the aged chief now one of two tilings would happen, Quannah would be killed, in which event he would lose We- tona for all time, and doubtless, his own life, since it would call the tribe upon him ; or he would he killed, in which case it would leave Wetona to the du- bious punishment of her people. He shook his head. “Not now, Quannah,”' he said. “Eet me atone in some other f } way. Quannah knit his brows. Then ’he looked up. “Wetona child of the white man, too,” he .said. “I read, I know, white man hurt girl, atone by marriage. John Hardin marry Wetona and make good Wetona’s name.” Wetona gasped. John Hardin smiled. “Stand aside, Quannah,” he ordered, “while I talk the matter over with We- tona.” Quannah snarled, hut obeyed, poising his rifle so that he covered John Ilardin squarely over the heart. Hardin spoke rajiidly. “You are in a bad mess, We- tona,” he said, kindly. “The best thing you can do is to marry me. This will appease your father and your people. 3’ou can still see — still see — liim. After a while, when the tribe is settled down again, we will go to the East and you may divorce me. You will be — a little f Sirfiifour) CLASSIC sister to me, W etona. Will it be so hard ?” Wetona felt a sudden tightening' of her throat. She took the big hand in both of hers and kist it. “Not hard — ea.sy, John Hardin,” she whispered. Dusk deepened into night. Tn the thick dark Quannah and Wetona and John Hardin walked to the home of I’astor Wells. Tony Wells was called upon as witness and the ceremony pro- ceeded. If there were any iiangs for Tony, he gave no sign. John Hardin was firm and very quiet. Wetona alone looked broken and distraught. She could not have stood by while Tony married another girl under her veiw eyes. .She could not have helped him. into a iKjo.se that wotild take him out of her reach forever. What sort of a hjve had he given her, she wondered, that he could do this thing? Jt came to her that John Hardin would never have let her go had she ever loved him in the way she had loved — still, God hel[) her, loved — 'Pony Wells. John Hardin would have fought for her. He would have taken her tho she was in the very maw of red death. It would be a fine, a tre- mendous thing, the love of John Hardin. After the ceremony Quannah stepped into the light the flickering chandelier gave down. “.You no more Comanche, Wetona,” he .said, “and you, John Har- din, when the tribe know truth, that you marry Wetona to make big wrong right, any Comanche kill you on sight of you. I give you tw'o days take girl and go. I, Quannah, give you two days to go.” The gas jets flickered wildly in WT- lona’s eyes; the spar.se, neat furniture, the ugly wall-pajier, the pastor’s smug countenance,. Tony’s sullen eyes, all re- \ olved more and more chaotically. Only one thing .seemed to stand still in the sickening convolutions — John Hardin’s face. Then that, too, blurred and les- sened and she was in the dark. W’hen she came to she was muttering thickly, “Tony, Tony ” and some one was saying, very, very kindly, “Wetona, little heart, little heart.” Wetona sat erect. She was in John Hardin’s home, and he was kneeling by her, stroking her throbbing temples with his capable, strong hands. W'etona stared at him wildly. “We must go,” she .said, tensely. “You heard Quannah, my father. You heard, John Hardin--- we must go !” Hardin smiled and shook his head. “Not r,” he said, calmly, and rose from his knees to light his pipe and drop into a chair beside her; “not I, Wetona. I am here as agent and to quell any up- risings. I shall stay, and, if there is one, quell it. Quannah feels that you have beeit wronged. He believes I— T am guilty. He told me to make the wdiite man’s restitution. 1 have done so. Right is now on my side. Quannah is, or should be, appeased.” u “He js not,” whispered Wetona. “There is blood-lust in his eyes. And back there the tribe are getting ready ( Sixty five) Another Boy Tastes Puffed Grains Tomorrow morning another home will he serving these \\Tole-( irain Bubbles. The only children who don’t get Pufled Grains are the chil- dren who don’t know them. I he foods are resistless. W’hen a boy or girl once tastes them, mothers are urged to sup- ply them. .And millions of children now- know the tielights of them. They Are More Than Food Confections^ The Pufteil Wheat and Puffed Rice are far more than delightful, d hey are scientific grain foods, made by the process of Prof. A. P. Anderson. Every grain is steam-exploded — every food cell in each grain. 1 bus the entire kernel of wheat or rice is fitted for easy digestion. Other forms of cooking rarely break up half these food cells. Puffed Wheat Puffed Rice and Corn Puffs All Bubble Grains — Each 15c Except in Far West Shot from Guns 'Phe grains arc subjected to fearful heat. Tlum they are shot from guns. 'I'lius they are steam-e\i)loded to eight times iK)rmal size, d'hey are changed to flimsy, flaky bubbh's with a nut-like taste. 'That makes them so enticing. But the great i)urpose is to fit them for food- to make whole grains whollv digestible. That's why Ihifl’ed Grains are all-honr foods. 'They never tax the stomach. They are more than l)reakfast dainties, 'f'hey are between- meal foods ;ind bedtime foods. 'They are noon-time foods for business men who want easily digested lunches, 'J'hc more you know of Puffed ( trains, the nn.u'e you will enq)loy them. The Quaker Oats Company Sole Makers e-'(r.2) Palmer Photoplay Corporation, IJfZ I. W. Heilman Bldg., Los Angeles, Cal. I shall be glad to have, without obligation, your new booklet ."The Secret of Successful Photoplay W riting. Also, Speci.al Supplement containing autographed let- ters from the leading producers, stars, directors, etc. And it is because they happen — because they are so truc-to-type and so true-to-life — that they impress you on the screen with their vividness, their realism, their aduality! There, if you will, is the secret of all suc- cessful photoplay writing. For only by piduring real people in reel life can you hope to create a photoplay that will strike home — that will be real enougn to be human, and simple enough to be under stood and appreciated. And this is one of the first things — yes, the very frU thing — you learn in the Palmer Plan of Photoplay Writing It trains you to think in adion; shows you how to pidhire men and women and life — not as you and I might like to have them, but as they are! In language so clear and simple that anyone can under- stand, it reveals the vital rules of plot construdion — lays bare the "little tricks of the trade” — shows you what to use and what to avoid; where to find plot material and how to recognize it; how to gather ideas from everyday life; how to build up tense situations and thrilling climaxes; how to create photoplays that win! It brings the studio home to you — tells you the things you muff know to put your stories over. 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Upon the impression you constantly make restsothe failure or success of your life. Which is to be your ultimate destiny? My new nose-shaper “Trados” (Model 2-f) corrects now ill-shaped noses without operation quickly, safely and per- manently. Is pleasant and does not interfere with one’s daily occupation, being worn at night. IF rite today for free booklet, which tells you how to correct Ill-Shaped Noses without cost if not satisfactory. M. TRILETY, Face Specialist. 1039 Ackerman Bide;., Binghamton, N. Y di AUITIHN PlCn iU'- their warpath regalia, their feathers, their — their tomaliawks ” Hardin reas.sured her, and for a week it seemed as tho the Comanches were going to let the insult die. John Hardin went about his duties, untroubled and una])])roached, and Wetona jdayed at keeping his hoiue and tvatching for Tony, who must surely come and make this travesty of living right with her. At the jiost a week or so after the ceremony Hardin encountered Tony W ells. Wetona had looked very frail that morning. ‘‘W’ells,” he .said, and w as suritrised to find his voice so pleasant, so casual, “Wetona is — with me, as you know. Run over and see her. She is — lonely.” Tony W'ells did not meet his eyes. “1 will,” he said, evasively. “Fine!” When Hardin got home that night Tony Wells was there. W^etona’s eye- had brightened and her cheeks had red- dened, but somehow she did not look a^ Hardin felt she should look being with her lo\e. “1 am a fool,” scoffed Har- din. to himself. “The wilds have made an idealist of me. I need some good healthy materialism knocked into me.” Later in the evening Hardin sought Wetona and Tony. “I’m running into town,” he said. “I shant be back before ten at the earliest. You can remain, Fony.” d'he jiastor’s son nodded. He wet his li])S. Hardin sickened and turned away. .V moment later Wetona was by his side. “Take me with you, IMr. Har- din.” she was pleading. “Somehow I- - 1 — Wetona rather go —with you.” Hardin hesitated. The temptation was \ er\- sweet, very dear. The ride thru the night and Wetona. Wetona, who had chosen to go fnim her lover — with him. It held jiossibilities of a tre- mendous joy. His heart leajied in his breast. 'I'hen, in the dark, he shook his he.'id. He wanted Wetona, but he wanted her utterly. This test, when she was overwrought and e.xcitable, was not enough. He had cared for her during the week and she had become used to him. I'here was no proof here. She must go thru a greater testing, a longer, stronger temptation. The hard words of denial were taken from him by the precipitate appearance of Comanche Jack, Hardin’s firm friend and sworn ally, “blaster,” he gasped, grijiping Hardin's arm, “tribe —it come — take John Hardin — torture at stake for — for — ” He saw Wetona, pallid in the dark, and checked his words. “iVlake haste, John Hardin,” he .said; “they on warjiath for fair.” Hardin smiled. So the fight was on. On —and in his house were Wetona and fony W ells. Tonight, then, was to be the crucible, the melting-pot. .She loved Tony Wells -did she, or did she not? Me drew them inside. “We will get whal sleep we can now,” he told the amazed Indian and Tony and Wetona. “Later we shall need what —strength — we ha\'e.” “."sleep— now ?” ( a 1.1' III CLASSIC Hardin nodded. Only Wetoria no- ticed that his face was very white. | .\n hour later Hardin leaned over the i »-allery, and his eyes shone with a strange light into the darkness. Stealthy foot- | stejts were coming from the direction of 'Pony W'ells’ room. They paused, and i W'etona’s door opened. Hardin held his hreath. W'ells was speaking, thickh'. | 'Phen came VVetona’s voice, broken, , frightened, singularly clear and poignant, | "Leave go. 'Pony W'ells, this is not love vou have for me. Now I know. I 'knov\'. 'Phis not loce, but a base thing, lohn— John Hardin — not take girl this i way. You want my lips, my arms about | vou, my hair, the touch of my hands ; for j my heart and the ])art of me that feels, ihat hurts, for that i)art you not care. Love do care. You not love me, 'Pony, i not as I want love — now ” 'Pony laughed, coarsely. “So many j words, W'etona,” he said. “You were [ mine, you still are, you always shall | be. You are as weak now as you were i the first night I took your lijis, you wild thing, you beauty.” W'etona’s \oice answered him. It had a hissing sound. “All my love for you, which was not love at all,' it go.” she 'aid, “and hate — it is hate T feel for you — here- — now !” j John Hardin’s eyes were bright with j unshed tears. The strength of moun- j tains was in him and the triumph of ' might. He leaned far over the railing. ! "Tony,” he .said, “what you’re going to j do is pack your griji and get out of Okla- i homa — tonight — and never let W'etona’s j name pass your lips again. She is my ! wife.” I There, in the dark, on those words, W’etona’s eyes met his — and he was sat- isfied. She was his wife. Before 'Pony could make good his es- cape the Indians were about them, sur- rounding the house, shrieking and yelling for John Hardin to show himself. Har- din knew them well enough to see at mice that there was no play in them. He j ordered Comanche Jack and Tony to their i po.sts and prepared to fight. Tony shook with an ague and would ha\'e made good his escape had not WYtona intercepted him, li])s curling, and ordered him back to his place. '‘^’ou are a dog,’’ she -najiped. Phe fight was on when Quannah rode into their midst, his stentorian voice raised in command. 'I'he shouting and tiring ceased, and Quannah made know n the fact that he had found Tony W'ells, not John Hardin, the guilty man. 'Phen the old chief entered the house and shook Hardin's hand. “You better man than Quannah,” he said. “May the tireat Spirit bless you!” 'Phe tribe got Toii}^ \Vells. He never j left Oklahoma, norniid he ever breathe | the name of Wetona. ! Inside the quiet house morning jiried j with pale, pink fingertips, but she did ’ not wake John Hardin, who slejit in his ■ great, old chair, nor Wetona, who hu i against his heart. ' • (Sixty . what counts, 'Phe co.st of livlii),; is mounting month h\’ month. You can't get along on what you have been making. Somehow, you’ve JMt M _»TCAn OUT HCfVCww. mm —Mi — llNTERNATIONAL CORRESPONDENCE SCHOOLS • BOX 6758, SCRANTON, PA. I Explain, without obligating: me, how I can qualify for the post* : tion, or In the subject, before which I mark X* '-imply gr)t to increase your earnings. Fortunatelx' fur you hundreds of tliousaiuL of other men ha\'e proved tlicre is an unfail- ing way to do it. Train yourself for bigger work, learn to do some one thing well and employers will he glad to pay you real money for yonr special knowledge. 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I have put X opposite subject I that interests me most. I □ Singing □ Speaking □Stammering □ Lisping j K I I Ac2dre«c..........,......„....._^. — .. j Write the Words tor a Song NN’e oompoae music, secure copyright and submit copies to leading publishers. Submit poems now — examination free. Broadway Studios. I07D Fitzgerald Bldg., Broadway at 43rd Street. N. Y. ^limiMIIIIUHIIIIIIIIIMIHIIMMIIIIiniiUlllinillllllllllllllllllMIMIIIIIIIIIItllMItlllllllllHIIIIIIIMIlIhllllllllllllMtmilOMttlllllllltU’s 2 2f|H|||||t|||||||||||||||||||||||||||||l|||||||llillllllllllllll>Mlllllllllllllecond peal of the door-bell interrupted (he wonls. .\d;i began to tremble. “That’s him now, Maggie. He’ll kill Us all! He’s just drunk enough to be ugly and riot too drunk to aim straight.” (oe Holbrook, stepping thru the door that Maggie opened, misinterpreted her look of stunned sur]>rise. “I couldn’t ( Sisrfv nM** ) help coming!” He caught at the fi’-m white hands eagerly. “Alaggie, I caik let it end like this! Listen, dear, I ” “Hush!” breathed Maggie. “Oh, hush!” Along the corridor sounded the shuffle of un.sure footsteps. The color drained from her cheeks. If Darkin should find Holbrook here he would not hesitate to use that knowledge to blackmail him. She cast a hunted look around and hei- eyes fell on an open door. “For my sake!” she begged him, with swift inspiration. “What if you should be found here? Dont come out, no mat- ter what you hear.” She closed the door on his expostula- tion and whirled to see Sam Darkin’- face, seamy with fury, leering at her over a lev'eled pistol. “Now dont — try- stallin’ me, girl!” he warned her, as he advanced, swaying, toward where she stood at bay, guarding what was more ]irecious to her than her life, the .safety of her sister and niece and the reputa- tion of the man she loved. “I know they’re here, an’ I’m goin’ — fin’ ’em. Get away' fr’m that door — quick!” Without a word she sprang on him, dragging the hand that held the pistol down with all her slender weight. In utter silence they grapjiled together, w'ith only the soft, muffled pad of their feet on the carpet and their heavy' breathing to tell listening ears what was happen ing. Maggie’s brain was whirling, but one thing remained clear in the tumuli of her thoughts. Somehow she must get Darkin away and let Holbrook escape — somehow, dear God ! she must save the man who had given her a glimpse of a new heaven and a new earth from the consequences of his recklessness. Darkin’s foot slipped and they fell against the table with a force that sein the metal lamp crashing. The bedroom door opened, and Joe Holbrook stood outlined against the light. With .-i dreadful laugh, the other man filing Maggie aside and le\eled his gun. “I’ll get you, anyway, you damn in terferer !” he screamed in a fiat high lone, and fired. Joe Holbrgok fell as a tree falls and lay' very still in the rose- pink glow of the frivolous dressing-table candles. ^Vhen Claire and her mother, scream ing aimlessly, ran into the room they found Darkin gone and Maggie, very white and calm, already cutting Hol- brook’s coat away from a wound in the shoulder. “Dont do that,” she told them sternlv. “There’s clean sheets for bandages in that drawer, Ada. and Claire, get the brandy from the bathroom closet. Ho isn’t killed — maybe even yet we can keeji l)eo[)le from knowing.” Still fighting against odds, Maggie Pe])per, heavy' odds ! It was towards dawn when Joe Hol- brook opened heavy eyelids and smiled weakly up at the face bending above him. “Hush, dont try' to speak!” Maggiv whispered. “I’ll tell you evory'd.Icg < Co/ii tuned 0)1 page 70} ? t/he traces , o/ 9iitr Women At all social afi2urs, the faces of f2ur women form the chief attraction. 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And He Wants to Be a Playwright — {Continued jrom payc 40) Barthelnicss had shown decided aldlity for ])Iots at a very early age and his iiiother determined to give him the ad- vantages of a college education. He at- tended Trinity College, Hartford, Con- necticut, and hasn’t given np the idea of play-writing. He believes that his prac- tical knowledge of play construction gained from motion picture work, coupled with his experience on the legiti- mate stage, will fit him for better work in the drama later on. .Sauntering out on the Griffith stages, a funny sight met the eye. A stage within a stage made the set. About four feet from the door one saw a hall- way with stairs in the rear. Here Richard Barthel- mess stood with a hand-bag and a Charles Ray expression, as he crushed a h'edora in his right hand. While the camera-man focused and Director Clif- ton criticall.v examined the set, the funniest jazz-band ever exploited began sweet yowls. .Seated on a broken chair, an artist on the “cordeen’’ jazzed away blithely, keeping time with his putteed right. On another chair nearby Buddy Harron, the famous Robert’s younger brother, was jflaying drum with two chair-rungs beat- ing a lively syncopated tattoo on an arm-chair. On the other side of the stage an electrician drummed with two more chair-rungs against the supports of the stage-lights. It was too much for the dance-loving Mr. Barthelmess. His face remained sadly grave, but his knees began to twitch anrl sw’ay and before long he was jazzing away unmindful of the trials of focusing. "All right,” said Mr. Clifton, "lights, action. There, that’s fine, Dick.” Soft music on the accordion this time, drum- ming omitted, and Richard Barthelmess addressed a farewell speech to nothing in ])articular until his director shouted "out!” and the grave leading man gave a last sad look at the rough floor and with a shrug and backw'ard glance, made his exit. There’s one thing about Mr. Barthel- mess, a thing so different from that which (me expects from a leading man, that it’s noteworthy. He rarely smiles. I've heard it said that he kisses the girls with his eyes. Perhaps it is his gentle aloofness that ajipeals. Richard Barthelmess is twenty-three, handsome — and has a big reputation as a dancer. Mr. Griffith has said of him that he is "easy and smooth in his work, fairly glides into a part, and is never rough in his conceptions.” Whether he's been spoiled In his as- sociation with such charming little stars as those who have iwinkled at him the past five years, so that he can’t (piite come down to earth and fall in love with an ordinary twentieth century maid, or whether it is because his much-loved mother is making the bungalow too at- tractive and his den too comfortable to he left for outside attractions, or u hether his strongly developed ideali.sin has painted for Ivichard Ifarthelmess the image of a twin soul not yet materialized, it would be difficult to say. There’s just one sport}' inclination which Dick permits himself to foster, and this leads him to X'ernon weekly to see a good prize-fight or boxing bout. He has lots of hooks, he enjoys driving his mother out in a new touring car, and he’s imbued with the idea that motion picture acting is a very serious propositon. But he docs love to write letters, so perhaps some day he’ll woo and win some little star by the fountain pen route. As for tho.se whom he has wooed on the screen, they are mostly wedded now. .Such is the sad fate of a leading man ! Maggie Pepper {Continued from page 69) that’s happened. An hour ago the police telephoned that Darkin had been drowned after leaping from a moving ferry-boat. Idiere’s nobody else knows you’re here, and they mustn’t know.” “Why, Alaggie?” Holbrook asked. “Are you ah'aid they’ll think that you ” “Me?” She looked at him wonder- ingly. “Oh, no; I dont matter! But your life mustn’t he spoiled, and Miss Hargen wouldn’t believe you came just because you were sorry for me.” He laughed at the divine simplicity of her, then, reaching out, captured the firm, steady little hand in his own. “Maggie, little, wonderful Maggie!” he cried, unsteadily. “It doesn’t matter what anybody understands or doesn’t understand. I’m not engaged any longer — that’s what I came to tell you tonight, that and one other thing. Put your head down close and I’ll whisper it.” . Three magic words, old as Time, young as Youth. A great flame of color swept her face to the white, curving hollows of her throat. ”Xot — me?” said Alaggie Pepper, faintly. “You couldn’t mean me ’’ In his eyes she read the truth of the wonderful thing that had come to her, and suddenly all the hard-learned con- trol and poise that she had won from the grudging years fell from her, and she laid her head with a little S(jb on his breast like a tired child that has come home. Starward Ho! {Continued from page 37) 'Fhis world seems to me just now to be a tremendous ])layroom with a workshop directly in hack. Gne must work in the workshop, then wander about the play- room, doing what (me chooses, pausing where one jdeases, then going on — - ;dways going on.” ‘‘M.'d'riage I suggested; “iierma- nence ?” “(')h, that!" the small, ascending star laughed, "d'hat’s the very last toy in the jilayroom,” she said, “and nothing is ]>ermauent.” () Youth . . . t) Youth! () Popu- larit\- -thou llird of Paradise! ( Si toil iI ) •L'LASSIC A Twentieth Century Priscilla {Continued from page 31) ■oine of the cuin|)aiiy lauglied, 1 hcoldcd. I was a contrary child if Clod ever made line. In fact, my mother and some of he actors said I was a little de\il IVhatever the intluence that ruled me, it -urely did protect me. 1 led a life free from accident and fear, feelinj^ very im- liortant with my ()wn little purse. “I lo\'e to travel and if) travel fast. That is why the automobile and aero- )lane appeal to me so strongly. It doe.s ;eem such a ])ity that the authorities vont allow you to travel eighty miles an lour in town. When I see a straight oad and feel little old ‘Pep’ — you know, nv tiny red roadster — dragging at the eash, 1 just want to let her go till there sn’t a hairi)in left in my head.” It’s easy to understand why Priscilla Dean wants jierpetual motion. She is so full of animal spirits that you're dis- losed to wonder how she changed from Loinedy to drama. Her eyes dance and flart — they’re not still a moment save iw'hen she slee[)s. She has the sauciest ijeyes you ever tried to look into. Just jimagine a man trying to ])ropo.se to iinirthful eyes like those of Priscilla Dean ! ij “You’re nothing but a baby vamp (right now !” !j “I wish T could have played ‘Hpstairs and Down.’ T surely did envy Juliette IjDay that part. I could just feel myself |lin it. But that’s the way — one always ijhas to do things which are the opposite [of one's day-dreams. Dont you think .Fate might hand out a few' more prize (packages and consult us about the sort bf plays we want to do? Just think of me playing in ‘The Hand That Rocked the Cradle’ !” . “How did you ha])i)en to get into it at all ?” “I was doing comedy out here at Uni- versal, and, as I walked across the lot, Lois Weber spied me and said, ‘There’s la girl I want.’ That little cue landed me 'as the mother of three children. Funny, ‘W'asn’t it.’' But then lots of queer things have happened in my time; for instance, |)laying with the Ben Greet players. And Jo you know. I've the distinction of play- ing at every university in the United •States.’' Not many girls have had the opportunity to see all our famous univer- dties. I think that w'as one of the finest experiences to look back upoii — and it was fun to meet so many college boys,, too.” No, Priscilla Dean doesn’t look as if she’d essay Bill-of-Avon roles. As Kath- erine in “The Taming of the Shrew'” she might be a perfect ty])e. Having mused audibly on this line, it wasn’t astonishing to hear the star of “Why, Uncle !” ex- plain that she loves shrew types and is now doing stories embodying such. With her naturally irrepressible spirits, her wu't and sparkling personality, the tanaing of Priscilla Dean on or ofif screen must be a fascinating task for any lord of creation. Aliss Dean, who is just twenty-one, was a musical-comedy girl before going into i>ictures. Even now' she’s entertain- ing at the various theaters which show ' her pictures. Not that she likes the idea, , but Californians insist on seeing their ' .'•tars at close range, and so Priscilla pre- ' fers to dance her w'ay into favor rather ; than make a set speech. Her early train- ' irig in the musical-comedy world was wdth >uch noted artists as Ada Lew'is, Otis Harlan, Laddie Cliff, I'.thel Levey, Grace I La Rue, Justine Johnston and Taylor Holmes. ( Priscilla dotes on a bull j>up, a huge ; white Angora tabby and the luscious i rose-gardens back of her home. During ■ the early part of 1918 she boosted the Ifighth National Orange Show’ at San Bernardino. So many demands were made on her booth that oranges gave out and Priscilla resourcefully handed them lemons. Not that any one minded, for , w hen Priscilla Dean smiles and turns her ( impish eyes, it’s impossible to remem- ; ber what is being eaten anyway. Then, too, an infantry regiment at . Fort Travers, Texas, has been calling ’ this star of mystery plays “godmother.” ! Ifvery week of her young life she has j mailed “the makin’s” of cigarets to her ■ boys, as well as boxes of ready-rolled smokes. Sub-chaser No. 308 recently ])resented her with a unique swagger- stick, made entirely of shells, and while it’s a good protector from Johnnies, the “w'eapon” certainly presents a curious contrast to the demure Priscilla cloak of dark blue cloth, with Puritan lines, wdiich envelops one hundred and thirty pounds of live-w'ire loseliness stirnamed Dean. Yet, strange anomaly, Priscilla off- stage enjoys taking her liveliness out all , by its lone. She doesn’t care for j>ublic life or cafe appearances, can get along beautifully without society stunts, and has the best times ever just with her car, her cur and her cat. For the saucy Priscilla is a happy bachelor maid. The Interesting Life {Continued from page 23) to it, “on the fence.” On one hand is the feeding of the inner craving, the working for the ideals of stagecraft and of art which absorb him. This means renunciation in a certain sense, a chance ' of non-appreciation, struggle, depriva- i tion. On the other hand, serials, com- j forts and, largely, dreaming and enjoy- ! ing. Perhaps, in time, the two w'ill be blent. But w'hatever the case, what- ever the outcome, there is a big per- i sonality there, interests immensely worth the having, a nature which ajipeals be- cause, one takes it, there is charity for all and malice toward none, a life done ' on a generous canvas, a love of the truly epicurean which is a force no matter w'hat, no matter w'hen its material ex- pression. A man w'ho has brought out of the I.and of the Midnight Sun some- thing of its searching analysis, wdio has taken unto himself here the qualities of a true democracy. A inaip an artist and ; — a husband. 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I’ve a pair in my ears now, but they are invisible. 1 would not know 1 had them in, myself, only that I hear all right. The Morley PKorxe for the D E MO TION PlCTORh The Return of Florence Turner (Couliinicd from pa(]c 20) These two letters and the photo- s'raplis evidence the satisfactory re- sults from treatment received at this Sanitarium l)y Aliss Clara Gil- hert, Delight, Ark., whose foot was deformed by Infantile Paraljsis: / arrived home alt right and my friends were greatly siirfrised to see me walk flat on my foot. H'hen / tame to your Sani- tarium I walked on my toe. I will gladly questions with regard to ,in' CL.4RA GILBERT, Box q}. Delight, Arkansas. I cannot fraisc your .Sanitarium too highly for your great work. Clara’s friends were surfrised to see her foot straight. Site ha.- , keen quite a show girl since. ICc stfiL gladly ansu’cr any inquiries in regard lo voiir work for Clara. MRS. CORDA GILBERT. Box 45, Delight, Arkansas. This private institution is devoted to the treatment of children and young adults af- flicted with Club Feet, Infantile Paralysis, Sjiinal Diseases and Curvature, Hip Dis- ease. Wry Xeck, etc. Our valuable book “ileformities ami Paralysis,” with Book nf Uefercnces. free. The McLain Orthopedic SaniUriain 818 Auhert Ave., St. Lonia, / Of course they spend the money tliey make in munitions on thin^js that tliey do not need but have always wanted.” She jrave an indescribalily funny imita- tion of two women meeting on the street, commenting on each other’s finery. “Imagine,” she went on, becoming se- rious again, “rougli, stained hands loaded with diamonds ; coarse, weather-beaten faces set oft by gorgeous furs. To me, that is the real comedy and is destined ft) be the great tragedy of the war. For ^vhat are they going to do now 'rhey have not saved anything and have not yained any education. You can hear all your life that comedy and tragedy are very clo.se together without actually real- izing it until you .see something like ibis !” Real life comedy-drama ! I'lorence Turner has .seen much of it since she first sailed across the ocean six vears ago : I noticed against the pale pink of Wonderful home study music lessons under j^reat American and European teachers. Endorsed by Paderewski. Master teachers guide and coach you. Leesons a marvel of simplicity and completeness. University Extension Conservatory, (with a faculty com- posed of master teachers in all branches of music) is the only recournizetj Conservatory of Music giving lessons by the UNIVERSITY EXTENSION METHOD, grading examina- tion papers on each lesson. Our teachers dictate individual personal letters to correct faults and make clear all doubtful points. The instruction of a Master— the individual touch of an accomplished teacher— is yours to command from the very moment you enrol). Anyone can learn at home. Write, telling ua the course you are interested in, age, how long you have taken lessons, if at all, etc., ami we will send you our Free Book containing te.\t and illustrations covering lessons in FIANO Utudonts' or teachers* courses), by the great Wm. H. Sherwood. HARMONY by Dr. Protheroe and RoBcnbecker, VOI(;E COURSE (with aid of Phonograph) by Crampton, PUHLKJ S(TiO(5L MUSIC by Francis F. Clark, VIOLIN. CORNET. MANDOLIN. GUITAR. BANJO, XtEED ORGAN, by equally eminent teachers. Send I^CJ become a fine singer, or a skilllul player. Write today for full particu- lars. Investigate without co.st or obligation. University Extension Conservatory 5066 Siegel-Myers Building Chicago. HI. her gown a gold medal. She explained that it had been sent her from the trenches by the Royal Fusiliers. From this the conver.kation naturally turned to her work when she “went on the road,” entertaining with her imper- sonations at innumerable camps and hos- pitals. “One expierience will never, never let itself be forgotten!” she said. “You know my vaudeville acts were all char- acter studies of one kind or another — j)rinci])ally comic. The one I liked the liest was a study of a cockney girl watch- ing a melodrama, substantially the same scene I ]nit in ‘My Old Dutch’ except for a few exclamations. I jdayed it in a strong spotlight. I was having so many jierformances a day at so many dift'erent hospitals that I soon lost track of where I was going, and so, one day, wfiien I went out on an improvised stage to do that pantomime, 1 saw by the light of the spot intended to show me ii]) that my audience was blind. There w’ere hun- dreds of young soldiers sitting there in row's with liandages around their eyes She changed her act, of course, im- is to >he t*ars what glasses are lo the eyes. Invisible, com- fortable. weightless and harm- less. .Anyone can adjust it. — one hundred thousand .sold. VI rite for booklet and testinioidals. THE MORLEY CO. Dept. 792. Perry Bldg., Phila. being examined by a ship s doctor. It seems that, being the smallest, I'lorence Turner was given a big dish-pan to carry. Just as the doctor (Robert Man- tell) came on the stage, she pushed her- self in front of him and declaimed, to her grandmother, without giving him lime to say a word : “Teedje. I’ve got the dish-pan.” It “hronght down the house,” but the next day she got “the can.” Her next start, however, was more fortunate. Certainly it constitutes in- valuable advice to stage or screen aspi- rants. “I was going to school in Brooklyn,” she .said, “when I read that a large num- ber of extras would be needed by Sh Henry Irving for the mob scene in ‘Robespierre.’ I went to the theatei without saying a word to my people about it. “The stage manager was natural!} 1 licking the large girls. He gave me just one look, remarked, ‘Too small,’ and tolc me to go home with the others he coulc not use.” But she did not go home. Instead shfi slipped out of sight and jirepared t( watch. “Now remember,” he said to those hf had selected, “Robespierre has starveo you, robbed you of everything you had and guillotined your husbands, sons anc brothers. You (picking out a girl on thi regular extra list of the theater) wil lead. I want you to go after him as tin you were going to tear him to pieces.” The result was tame beyond descrip tion. And then, with his temper at thi breaking point, he caught sight of Flot; ence Turner behind a piece of scener} No, he did not give her a job right thev On the contrary yon doin provising dialog at the last moment. “Thev are all so splendid !” she said. Florence Turner is one of those for- tunate ones who may be called first- nighters at the Play of Life. She seems always to be in at the start when prece- dent is to be overthrown and new habits of thought established. She was horn in New York City and is of French-Italian e.xtraction. Both her mother and grandmother, with whom she still lives, were on the stage. Her first and (for a time she made the fatal mistake of stealing a scene from the star) last aiipearance was with Robert iVIantell in “Romany Rye” when she was three years old. .She said nothing about it to her mother or grandmother. l)ut evidently she had determined in her baby mind that she and not Mantell was going to star. ’Fhe fatal scene came. It showed a group of immigrant children ■‘You!” he said. “Didn’t I tell you t go home “Yes, sir,” she answered. “Well, then, what are here ?” “I thought that you might chang your mind.” “You did, did you? Well, I haven’ changed my mind. Now get out!” an' he went back to his mob. But the your girl with the blood of generations ( stage jicople in her, just naturally didn get out. She only went as far as tl stage door, turnecl hack and, on tipto: found a new hiding-yilace. For hours the rehearsal went on, b coming more instead of less unsatisfa tory. At last, when the born actress hiding could stand it no longer, she sto out and once more stood before the sta manager. He threw up his hands in di spair. “My G — d!” he gasped. “A you here yet ?” There was a .shriek of laughter. “I know,” she said, without payii anv attention to the others. ■ Perhaps it was the laughter as mu as her spunk that decided him. “Lead it then !” he said resigned “You couldn’t be worse than the rest.” I ( Seventy-tu'o) IIlassic ] ■ Tlie \\f)nl‘' were scnrci-ly out of bis I noutli wlien she let out a shriek which ihiade him jimi]) fully six inches and I inade for the man vv'ho was temjioraril) I rcpresentinji’ Sir Henry Irving' and Rol)es- . Itierre, Slie yelled that he had yuillo- i lined her husband and starved her chil- [iren, (she was about iifteen years old), ijmd proceeded to kick, bite and scratch 1 ike a younf>; wild-cat. ^^'hen they ])ulled lier away they had to, in all sol)er ear- nest, drag her across the stage while she ;[fought them to get hack at him. \\ hen die stage manager had gotten over his [Jaugh he explained that she need not be iiuitc so realistic, but she got the ])lace j ind for six weeks led Sir Irving’s mob. 1 The next year she went on the road as |||i chorus-girl, and when the season was }|[tvcr she received a card from Jesse JLa.sky, asking her to call on him. j “That was before Mr. I^asky even iihoughl of being a motion picture mag- pate. He was a producer of vaudeville acts and offered me a jilacc in one. lint ;|t was in the chorus, and 1 told him that I couldn’t take anything less than a part. Il’ll ne\er forget how nic(' he was. He Jvished me luck and said that he hoped T (ivould get my jiart. /\s it hapjiened, T lid. Then, a few months later, 1 joined |\''itagra])h.” j! She became Xdtagraph's brightest star, po you remember? Ikit of course you Jo! Her ]ictures as j.-hild ren ])lay games, throwing ourselves hito what we were doing at the mument ivitli the most unbounded enthusia.-^m. I •enieniher my first picture. It was a dapstick C(,)niedy (all we made was slap- stick). I’ll always believe that I wa'is (ifterwards starred becau.se T could run jfastcr than any one else, .\nyway, that Jrst ])icture was called ‘Idow to Cure a Cold.' We began it at ten one morning iiind finished it in time for lunch! ' “But the great sen.sation of those days j'vas _ our masterpiece, ‘h'rancesca da jlvimini.’ It was all of a thousand feet king. Woman, it was gorgeous ! \Ve had j.wenty-five sujiers, specially engaged, uid all the men from the film-room ilressed up in early Italian costumes. They didn't have a thing on properly; Itliey looked more like accidents than courtiers! ..Vlbert Smith took the j)ic- !ture. ^ WT didn’t have a camera-man, |uid Commodore Blackton took the stills ind acted — everybody, including our di- rector, acted. Edith Storey, then a little ■ ten or eleven years old, play'ed a page. I ( Soxcai ijihrcc) 1 i “I remember that during the throne room scene, our marble, which was onlv painted canvas, kei)t developing wrinkle- at the most unexpected and inconveniem moments. The iirojaerty-man. h.i\iu,g .stayed u]) all night to make it and bein; rather tired, had put it on crooked! And vet, wrinkled marble and all, ‘France-'C."' da Rimini’ was a good picture! We made u]) in -.incerity what we lacked in conveniences. .Mr. .Smith, went abroad and wrote us that it was the talk oi 1 ’aris." When H. W. (irillith took charge of the Biogr.aph Company, \ itagraph had to work as never before. For five ydars i'lorence Turner and jMaurice Co-tello were co-starred, and the questum of the day was, “Are thev married.-’’ “So far Fve escajaed niai" riage entirelv,” she said, when 1 le- minded her of this. 'I'lien, with her jHip ularity at its height, she w ent to England. “It was the only thing for me to do." she explained. “1 wanted mv' own com ])any. but I couldn’t light the trust hei e : it was altogether too strong. My |iic tures had aivvay's sold very heavily in England, sf) 1 knew that I must be |>opu lar there.’’ Needless to say, she was. .Some of the jiictures she produced abroad are: “Far from the Maflding Crowd,” by d’homas Hardy (adajitcd by Henry Edwardes) ; “Doorstejis" (from Tvdwardes’ stage jiroduction of the same name) ; “East is East,” by Cajilain Philip Hubbard, of the English Armv, and “iMy Old Dutch.” Good Gracious, Annabelle! (Coii/iiiiicd from pdfie -!6) of Ceorge Wimbledon at Jdock I’oinI, Fong Eland, during the owner’s ab sence.” “Rock Point!” exclaimed Rawson, re- calling .kiinabelle’s destination. “That'- odd. What's he asking?” "( ine thousand a week, but it’s cheap at the ])rice,'’ said the detective. “It's tlie show ])lace of Long Island.” “I’ll take it.’’ snafiyied iCawson. “Hunt up thi- Eudgate and I’ll settle the details.” Next morning found .Vnnie Postle- waite, alias Annabelle, iMichael Grove, alias Charlie Christy, and IMamie. alias Maryllyn IMiller, installed in the ser- vants’ (juarlers of the \Vimbledoii ciaun- try home. It was after breakfast that Annabelle came Jace to face with Jvawson, who Hushed guiltily. “I’ve rented the W'im- bledon ]>lace for at least a w'eek,” he cx- plained. “1 h.adn't known where to go until you mentioned Rock Point, and having been given sucli a bully idea, I managed to get this ])lace. Since you’re visiting down here, we ought to see a lot of each other.” “We will,” said Annabelle, grimly. “I’m the cook here.” “The cook !” exclaimed the West- erner, laughing. “If you only were!” “But I am — temporarily^” confessed (Coiitiinied on page 74) Send for Diamond, Watch and jewelry ^Catalog. IT IS FREE! There are over 2000 photographic lHu'%* traiionsof Diamond Kintgs, Diamond La Vallieres. Diamond £or Screws. Diamond Scarf Pins. Diamond Studs, SiKoct and Emblem Rint;s. Watches, Wrist Watches, Bracelets, Cuff Links, Brooches, Lockets, Chains, Charms, Silvcrw-are. Clocks Toilet Sets; also our wonderfully showy assembled Solitaire Diamond Clusters. Whatever you select will be sent, all shipping charges prepaid. You See and famine the Article Right in Your Own Hands If satisfied, pay one*fifth of purchase price and keep It: balance divided into eight equal amounts, payable monthly. Every article Is specially priced. 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Chicago, Peoria Please send me your late.st Catalog No. 40 iVamc Address Larkin Products Send Coupon or Postal to Nearest Address MOTION PICTURE CLASSIC Fame via Matrimony (Continued from page 42) actor ! Have you noticed how he only uses the upper part of his face? He can work his eyebrows independent, giving his expressions so much force. He can tell you a story w-ith his eyes, or a slight curve of an eyebrow. He is a true artist, so beauty-loving, so eager to bring out the highest ideals, and no one could act witt him as I have and not improve. "At first, I seemed to learn but little at the other studios, but from the time 1 worked for Morosco, Fox and ther Lasky. Fve just slowly climbed with veia loving hands to push me along. You canl imagine just HOW kind and helpfu people are to me, how eager to give me ; lift instead of a kick, so Fve had a ver\ lucky experience in the pictures, I think.' “Mr. Vidor is. directing for the Brent- wood Corporation, but we can alway; drive to the studios and back together and now my folks have all moved to Lo; Angeles, so Fve forgotten that I ever knew loneliness. There is nothing .s( fine as congenial work, and Fm glad tha I stuck to this, tho at first there seemet no prospect of my becoming a real ac tress. I wasn’t discovered, pushed alonj in the beginning, or even enthused ove by any one — I just had to make a caree or die of loneliness at home. It jus, goes to show that you can achieve thing i if you only put your mind to them da; 1 after day.” Good Gracious, Annabelle! (Continued from page 73) i\.nnabelle, going on to tell him of th j impending divorce suit. “Of course, it’ all ridiculous, because i'ni marrie nozv.” I “Married!” groaned Raw.son. “That 1 wor.se yet.” "Well,” sighed Annabelle, "I’m .so of married. I lived with my father i Arizona until I was sixteen. Dad die suddenly, and one night a drunken mini dragged me out of the house. I vv; terribly frightened, but just then an o bearded man we used to call ‘The Herm: j came along and knocked down my ki' napper. He made me come to his cab for the night. I tried to tell him ho i that would compromise me. and what i j you think he did? Dragged me to parson’s and married me out of ban j Of course, he just wanted to protect ir i I hut, when I began weeping that night, j I took me to the railroad station ai' i started me to some relatives in Ca fornia. Then what do you suppose ha pened ?” “Your husband struck it rich,” ss Kawson. j “How did you guess?” asked Anr belle. “That’s just what happened, 1 I became terribly wealthy and began ser I ing me checks each month. No lette . I i nothing else. But each month the alio : ance came. .So it has been for seven yea ■ I But his last month’s check didn’t tui ! up, and that’s why I’m cook for 1 ^ { (Continued on page 76) (Seventy four) i This department is for information of general interest only. Those who desire answers by mail, or a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address all inquiries to The Answer Man, using separate sheets for matters intended for other departments of this magazine. Each inquiry must contain the correct name and address of the inquirer at the end of the letter, which will not be printed. At the top of the letter write the name you wish to appear. Those desiring immediate replies or _ information requiring research, should enclose additional stamp or other small fee; otherwise all inquiries must await their turn. Marjorie B. — My stars! No, I never go skating, but I like to watch the young folks on ice. Cant you investigate further? Louise Huff and Jack Pickford played in “Seven- teen.” I hope you will always keep your rosy cheeks. Which reminds me that there are three things that women throw away — their time, their money and their health. Blue Eyes. — A votre sante. RubyDeRemer was Miss Ashton in “We Should Worry.” Yes, she is very pretty. Some think Henry Clay was the greatest American orator. I have not heard of William Jennings Bryan for many years — does he still live? Dont care what you say — love and you shall be loved. Annette. — All I can say to you is that you will have to write direct to the players. A Reader. — So you have been suffering from the toothache. Very sorry. You say you dont see_ why we weren’t born without teeth. Well, if you will look up the authori- ties, I think you will find that we were. George Walsh in “On the Jump.” Lois Wilson Admirer. — Speaking of widows, which are you, the bereaved or the relieved? No, it’s not true; England, France and Germany and the other big nations have marines. We’re not the only country with a unit known as marines. Yes, I always use glasses. Sight is a good thing, but insight is better. Lena C. — Marguerite Clark, now the wife of Capt. H. Palmerson Williams, is back at the studio, playing in “Mrs. Wiggs of the Cab- bage Patch.” Antonio Moreno is not married. Just B. — You seem to be very proud of your ancestry. I hope that is not all you have to be proud of, otherwise you would be like the potato, the best part underground. I do not believe much in ancestors, for, having come first, they are the young people, and have the least experience. A river becomes narrower and more insignificant as we ascend to its source, and becomes muddy, feeble and corrupt at its mouth. Shall I go on, or have I said enough? Norma C. M. — Enrico Caruso, or just plain Caruso, was the sculptor as well as the singer in “My Cousin.” Taken in California. Corinne Griffith and Walter McGrail in “Miss Ambi- tion.” Virginia Kirtley was the lead in “A Law Unto Himself.” Arthur Shirley in “Bawbs of the Blue Ridge.” CuTiE. — So you think I am a literary failure because I have not risen higher. I suppose a literary failure is a man whose brains are unfit for publication. Albert Signer was in “Mothers of France.” ZiscA G. B. — Thanks; I took your tip and read every word of your letter. And I did not regret it. When you come to America, you must look me up. Marie. — You must have dictated that letter. Let the heart dictate and the head confirm. You say you imagine you can smell onions on my breath. Onions — sure I love them. An onion a day, they say, keeps doctors away — and everybody else. Eat an orange at night, and an apple in the morning, and an onion at noon, and you’ll never die. (Seventy-five) Claudius. — Enjoyed your poetry immensely. You know what Elbert Hubbard said of poets — a poet is one whose ideas of the beautiful and the sublime get him in jail or Potter’s field. And some say poets are like birds — the least thing makes them sing. But the bird that cant sing and insists on singing should have its neck wrung. But as for thee, O Claudius, sing away. Marie. — Cant tell you how to become an ac- tress, other than to enter the Fame and For- tune Contest. Uncle Bob. — Marie Osborne was born in 1911. Little Mary McAlister is living in Chicago, and her last picture was an Essanay. So you would like us to report the causes of divorce as well as the causes of death. Want to be one of our reporters? Betty R. — Hobart Henley has signed up with Goldwyn for some time as a director. He would apparently rather receive a director’s salary than the fan’s praise. Ernest Truex and Shirley Mason in “Good-by, Bill.” Yes, Earle Foxe in “Peck’s" Bad Girl.” California Bea. — Many of our women are not so pretty as they are painted. Your sug- gestion is very good, and_ I have passed it along to the editor. The Sinn Fein came into existence about twelve years ago. The phrase rneans “For ourselves alone.” The organiza- tion is traced back to a series of articles by Arthur Griffith. Tom F. — Ethel Clayton in “Vicky Van,” and Elsie Ferguson in “His Parisian Wife.” That was Thomas Santschi and Kathlyn Williams in “The Adventures of Kathlyn.” Andrew M. — So you have women barbers in your town. That’s sad, because lio man wants to be cut by a woman. Iowa Billy Rose — well, we haven’t any information on her. Patria. — Can you remember Mabel Nor- mand when she was getting $25 a week with Vitagraph, playing with Flora Finch and John Bunny? That’s only imagination. Yes, Norma Talmadge finished “The Heart of We- tona” in California. Lillian and Grace C. — You say, “What is to become of us when you die?” That’s not bothering me ; what I’m worrying about is what’s to become of me. Did you see Earle Williams and Grace Darmond in “The Man Who Wouldn’t Tell”? Oliver McL. — Surest thing you know — 77, bald and whiskers. That’s my picture up above. I hardly sweep the floor with my beard, tho. John Barrymore also played in “The Man from Mexico.” Sweet 16. — Thanks for yours. You’re right: Democracy, the hand that rocks the thrones, rules the world. “Battling Jane” is an Artcraft picture. You’re a splendid little talker. Men speak of what they know; women of what pleases them. Wm. Hart Fan. — Surely write to Wm. Hart. He’d be glad to hear from you. Recall that chat with him in last month’s Classic? Women his greatest weakness ! He was in “The Cold Deck.” You want more Letters to the Editor. They tell me it’s hard to get good ones, altho I dont find it so. 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Also tells how and where to apply for a position. Gives tho addresses of all the studios and managers and tells everything in detail. It is a pleasant and profitable profession and the demand exceeds the supply all the time. We vdU mail the book to you for 10c and 2o for mailing. YOUNGS PUB. CO. Dept. H. East Norwalk. Conn. MUSIC TAUGHT FREE m IN YOUR , _ , _ OWN Dou ' MoLol TUuj«, IMt TfUi HOtVI E Pla.o, Orpran, 'Violin, IHandolln, Gnltar, Banio, etc. Beginners or advanced players. One lesson weekly. Illustrations make every* thing plain. Only e^ysense about 2c per day to cover cost of postage and music used. Write for FRcE booklet which explains everything in full. AMERICAN SCHOOL OF MUSIC. 70 Lakeside Building, CHICAGO Wrestling Book FRFF You can learn to be an expert wreetler at * ■ ■ ■■ home — during your spare time. The book tells yon how. The world’s marvelous undefeated Champion and his trainer Frank Gotch and Farmer Bums ?l“a”ch you. 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Good Gracious, Annabelle! {Continued from page 74) Wimbledons — or rather for you. That Ludgate has taken advantage of his mas- ter’s absence to quietly rent the place to you.” Rawson laughed. “He’s a scamp, this Ludgate, but he’s given me my chance to be near you, hermit or no hermit. Did this hermit ever give you anything but money — stock, for instance?” Annabelle thought for a moment. “Why, yes, the day he married me and then put me on the train for California, he pushed two shares of his mine stock into my hand. But I was broke only two months ago and sold them.” “I cant tell you how I know about it,” went on Rawson. “But I have found that this Wimbledon has those two shares. That was one reason why I came East. I need those two shares to get a final controlling interest in your husband’s mine, ‘The Bluebell.’ I shall find a way somehow.” At that moment the valet, Ludgate, considerably perturbed, appeared. “I’m in a terrible predicament,” he said to Rawson. “Mr. Wimbledon has returned for a day or two. I shall have to return your rent money to you or ask you to wait to occupy the place until he leaves again.” “Neither,” said Rawson. “I shall stick — posing as a servant. Let’s see. Hire me to be captain of his yacht.” So another make-believe servitor took his place in the Wimbledon retinue. The millionaire had hardly set foot on the estate when he noted Annabelle. He sent for Ludgate. “Who is that beauty?” he demanded. “That,” said Ludgate, “is Annie Pos- tlewaite, the new cook.” “Cook,” exclaimed the rather intoxi- cated Wimbledon. “Ludgate, you have marvelous discrimination. Send her here.” Annabelle appeared a second later. “Ludgate says you wish to see me. Is it about the dinner, sir?” “Dinner be hanged, Annie,” said Wimbledon,' unsteadily. “What’d I care about food when I can look at you ? Why — why — didn’t you come to work here before?” “I’ve been making munitions,” fibbed Annabelle. “I’ll bet you’re richer’n I am,” giggled Wimbledon, bibulously. “Money wont tempt you then. But Annie, where’d you get that last name — Postlewaite, or whatever it is? How’d you like to change it?” Wimbledon’s head was nodding un- steadily. He was half asleep. Anna- belle sat down quietly and waited. Fi- nally, the Wimbledon head toppled forward, its owner in a drunken stupor. Quickly Annabelle slipped to his side and secured his wallet. She looked thru it quickly and, in a side folder, found the two missing mine shares. Suddenly she heard a step behind her and started. It was Rawson ! She slipped the wallet back into Wimbledon’s pocket, retaining the certificates. {Continued on page 78) Alma Gluck, tihe famous Prima Donna of the MetropoU Itan Opera, has created this most becoming coiffure. In all her portraits her glorious hair is dressed as above. You can reproduce this coiffure with the Alma Gluck Braid, whieix is fully described in the new enlarged edi- tion of our “VOGUE COIFFURES” Catalog — just out. Prices from $3.00 up. Catalog Mailed Free on Request FRANCES ROBERTS COMPANY GUARANTElEiD HAIR GOODS CUSTOM MADE TO MATCH TOUR SAMPLE Transformations, Pompadours, Switches, Wigs, etc. TOUPETS AND WIGS FOR MEN Money Back If Not Satisfactory' 100 Fifth Avenue Dept. 6U6 New York You can Tint Them Beautifully With It adds wonderfully to your beauty, charm and expression for your eyebrows and lashes to be slightly darker than your hair. COLOR-INE makes them appear naturally dark. 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Order a trial bottle today and If It la not entirely eatis* factory in every way we want yoatoeendit rig^bt back and we will promptly refund yonr money in full. Maybell Beauty Booklet, “TTie Woman Beautiful,’* mailed Free with every order. Maybell Laboratories, Dept. 12, 4305 Grand Blvd., Chirraeo Featured in Jack Norworth's “Odds Jay onion and Ends” Adopted by — Screen — Stage — Society Because Hair-Dress will make the most stubborn hair stay the way you comb it and retain a smooth, dressy appearance the entire evening. With Hair-Dress you can. comb your hair any fashionable style — straight back — any way you want it. Hair- Dress will also give to your hair that beautiful lustre so much in vogue with men and women of the stage, the screen and society. Is harmless and acts as an excellent tonic. oena ror iriai jar a trial jar. use it five days. If it isn't just what you have been looking for — send it back. Your money will be cheerfully returned to you. Send United States stamps, coin or money order. Your jar of delicately scented, greaseless Hair-Dress will be promptly mailed postpaid. Send for this wonderful toilet necessity today. Send $1.00 for Three Months* Supply HAIR-DRESS CO., Dept. A, 4652 N. Campbell Ave., Chicago (Seventy-six) “HELLO, CHIEF: Haven t found the firebug yet, have you? You will know who he is only when I am dead and the fires stop. I don’t suppose you even realize that the fire- bug talks to you almost every day about catching the firebug? That’s me. They never caught me in Chicago or anywhere else, so you might as well quit looking for me and take your medicine/^ mtion picture classic A Fool of Fortune {Continued from page 19) lame Sunday! And with it a hunger ifo which one would steal. Until four Lnfhe afternoon Tony Kelly stood its [raages. On the sideboard in the [iiing-room stood a bowl of fruit. For ! 1 bng time the boy looked at it, while h mad hunger craving ate at his vitals. Tially his hands reached feverishly out nil closed over a bright red apple, a her, some grapes. |lS he stood guiltily trying to stuff his )cty into his pockets, the swinging door hi! led into the kitchen flew open, and hi landlady, a Mrs. West, confronted hjdad, her countenance screwed into a rirk of propriety and righteousness. That fruit, Mr. Kelly, belongs to me. tjS kept solely for the members of my ■^dly.” j|f he could have passed out then, he raid have. But with his whole soul ring for food, he replaced the fruit ri: speedily vanished into his own room oljonsume more water. ,|i his Monday morning’s mail he re- e'ed a check from Biograph for fifty nars, for a scenario. The first thing fj;ly did was to get it cashed by the 4 Angeles editor for whom he was ojig to work. After he had eaten he erned to the boarding-house and otht out Mrs. West. Pulling out the olof bills, he said, “I am leaving you 31 .y, Mrs. West. How much is my if” ^ !jo this day the sight of her saucer- k eyes as she saw his roll of the long rn is one of Tony Kelly’s most satis- aiory memories. Tom that time on his scenarios be- aie rnore ancF more popular, and for 31 e time he was in the script depart- let at Essanay. |iOday he is doing films for Uncle ab He has, perhaps, a more intimate n vledge of the United States Govern- let than any other individual not in a ics. He is a regular walking dic- oiry of history, past and present. He 1: a successful stage play, “Three a;s East,” on Broadway, three vaude- Ij sketches being produced, and the cl!: important people in pictures seek r out to do their scenarios for them, r, thru it all, he remains intensely pan, jolly, companionable. He loves i< because he looks at it clearly and itthru a glass darkly. He is enthu- i ic, versatile and adaptable. )h, this, he says, as if he were hking the ashes from a cigaret that s ad little taste for, “this that I have IS nothing compared to what I 1 : to do — only the beginning, I hope.” Tstin Farnum has a new leading . Irene Rich, a Los Angeles girl with fations and who worked as extra I' quietly and unostentatiously for H two months. Frank Keenan and ^ lum both noticed her work and rec- 1 ended her for advancenjent after work with Louise Glaum some time ‘"i Seventy-seven) “The Firebusr” in a b„?nin7bS„r^ ARTHUR B. REEVE Craig He is the genius o£ our age. He has taken ®cipnce science that stands for this age — and allied it to the mystery and romance of detective fiction. Even to the smallest detail, every bit of the plot is worked out scientificalh'. For nearly ten years America has been watching his Craig Kennedy — marvelling at the strange, new, startling things that de- tective-hero would un- fold. Even under the stress of war England is reading him as she never did before. Kennedy Such plots— such suspense— with real, vivid people moving through the maelstrom of life ! Frenchmen have mastered the art of terror stories. English writers have thrilled whole nations by their artful heroes. Russian in- genuity has fashioned wild tales of mysterr-. But all these seem old - fashioned — out of date — beside the infinite variety — the weird excitement of Arthur B. Reeve’s tales, in 12 volumes — over 250 stories. Col. Koosevelt says: “I did a whole lot of reading-. I particularly enjoyed half a dozen rattling good detective stories by Arthur B, Reeve — some of them were corkers.’* To those who send the coupon promptly, we will give FREE a -set of Edgar Allan Poe’s Masterpieces in 10 volumes — over 200 stories. When the police of Paris failed to solve one of the most fearful mur- der mysteries of the time, Edgar Allan Poe — far off here in New York City — found the solution. FREE! 10 VOLUMES Edgar Allan Poe*s Masterpieces The story is in these volumes. He was a de- tective by instinct— he was a story-teller by divine ' inspiration. Before or since — no one has had / his power to make your hair stand on end— to / send chills up your back— to hold you in / suspense — terror, O horror! To read / breathlessly— to try to guess the ending— . to enjoy the perfect, flawless style— to ' 2-19 feel the power of the master— that is / Broth^^ all you can do in each and all of Poe’s / ^ Franktin undying stories. In England and / Square, n. y. France, Edgar Allan Poe is held to Send me aii oe tnegreatestwnterthat America ' charges prepaid, has produced— to them he is / the greatest American classic. / aSieif free'* SI .This IS a wonderful com- / yoSef**?! tarn bination — here are two of / sets are not satisfact'o^ the greatest writers of / 1/ mystery and scientific ^ fch detective stories. You / can get the Reeve at / a remarkably low price and the Poe Free. / Name, HARPER & BROTHERS / “ Established 1817 NEW YORK CITY / d^reemarCs FACE POWDER An American product adopted by Ameri- ca’s society leaders. For 40 years Freeman’s Has been the choice of particular women. 50 cents (double quantity), all tints at all toilet counters, or 4 cents for miniature box. The Freeman Perfume Co. Dept. 104 Cincinnati, O. CELECT your own subject — love, patriotism — write what the heart dictates, then submit your poem to us. We write the music and guarantee publish- er’s acceptance. Our leading composer is Mr. Leo Friedman one of America’s well-known musicians, the author of many song successes, such as “Meet Me Tonight in Dreamland,'’ “Let Me Call You Sweetheart,'" “When I Dream of Old Erin," and others the sales of which ran into millions of copies. Send as many poems as you wish. Don't Delay. Cet Busy— Quick. CHESTER MUSIC CO. Chicago, III. TELEPHONE. E4S9 MAIN JSDe Wm. G. Hewitt Press Printers and finders SPECIAUZING IN BOOK. CATALOG AND COLOR WORK Sixty-one to Sixty-seven Navy Street BROOKLYN, N. Y. Cgfgrgr DIAMOND FntuK RINOOFFEil Jost Co sdvertlae onr famons Hawaiian tm. diamooda— the createst discovery the world has ever known. We will send ab* eolutely free this 14k srold f. tics, set a l«2k Haw^fan |m. diamond— Id beantl* Mil VB I ciHiTiy j oBOQi-riR. OLG. aa you .eu It from 8 real diamond return and money re* funded. Only 10,000 ^ven awny. Send no money Answer ooick. Send size of fingec. KRAUTH & REED, Dept. 69 MASONIC TEMPLe CHICAGO MOTION PICTUli Keeping That Appointment With Theda Bara {Continued from page 17) North Carolina when she desires some- thing very particularly. And it always comes. Sometimes, however, she changes her mind after the contribution is sent and it’s awkward how the thing mate- rializes anyway. We noted the address of the church carefully. The evening darkness gathered. But the Jap did not appear to switch on the electric lights, and we sat in the dusk. Miss Bara began to show a genuine sense of humor. We pushed five Oriental cushions from the cluttered couch and began to be really interested. “Did you see me as Cleopatra?” in- quired the vampire de luxe. “I certainly did,” was our enthusiastic confession. At which Miss Bara laughed. ‘T liked that best of all my screen roles. But do you know what my Jap said of me? ‘You fat on the screen, Miss Bara, not a bit fat off !’ I think the boy was disappointed.” And the Jap is honorably correct — at least about the off-the-screen part and minus the disappointment. Miss Bara isn’t the statuesque person you rnight expect. She is of average height and quite, quite slender. And genuinely girlish. Miss Bara devotes a lot of time to reading. Really ! We know, because she talked intelligently of books. She had just finished Arnold Bennett’s newest story, “The Pretty Lady,” the war-time adventures of a French courtesan in London. She loves her sister. Loro, deeply, and insisted upon having her meet us. Loro is a younger sister and very, very blonde. So Miss Bara told us. Loro hadn’t re- turned by the time we departed. Criticism — that is, unkind criticism — hurts Miss Bara very much. She told us so. Some critic had just intimated that her Salome was a fleshly conception and not the mental lady who must have upset the Biblical court. “I ask you,” demanded Miss Bara plaintively, “how can I portray a mental Salome ? Can I show my mind working for the camera? Will I have subtitles tell my brainy sayings? Cr will I go thru the dance of the seven veils with a finger thoughtfully pressed to my fore- head?” And then Miss Bara told us a secret. She is going to appear on the stage — soon. It is her dearest desire. The right play hasn’t come along yet, but when her present screen contract has expired, she will turn to the footlights with something big and mystic and un- vampirish. Cther things she told us, too. She loves New Crleans most of all the places she has visited. The atmosphere and ro- mance of the old city appeal to her. She hates the lurid titles they give her pictures. She thinks it rather mean to intimate that she looks “that way” on the screen because she is near-sighted. She laughs at her vampire fame ai doesn’t take it seriously. Indeed, she I a young woman who thinks and has sense of humor. Let us confess that Miss Bara ink i ested us tremendously. We doubt, course, that she actually takes her prei agent occultism too seriously. Yet the is a vein of the mystic in her. But \ are thoroly sure of her healthy, ak mind. For beneath the incense and t i perfumes and talk of peacock feathe and the science of numbers is a ve, likeable — and — vivid — young person. Just before we left Miss Bara hand us a little Egyptian scarab to examii Suddenly she glanced at the palm of o left hand. “Whoops !” she exclaimed. “What love line ” And then she began tell us all sorts of things about ourselv most of them startlingly true. “This is your interview,” we i minded, hastily withdrawing our tellt: palm.’ “You ought to take that to a go i palmist. I never saw ” But we departed. The elevator g; gazed at us all the way to the grou. floor with a steely eye. In the lower : ception hall three others considered < with odd but unmistakable interest. Hastily slipping on our gloves—^ cover further palm revelations — we hi ried into the night. Even outside, queer, faint flashes incense still clung to us. j Good Gracious, Annabelle! {Continued from page 76) “What are you going to do them?” he inquired. “I’m going to send them back to tl ' rightful owner, my husband. If n want to buy them, you will have to to him.” But Rawson merely smiled. Annabelle was sitting in her ro three hours later, when she realized t the whole estate was in a hubbub of citement. Wimbledon had discove i the loss of his mine shares and st - moned the police. The detect! s promptly arrested the last servant gaged, Rawson, the supposed yacht c -! tain. To shield Annabelle, Rawson, w holding his real name, admitted crime. Then it was that Annabelle v p to Wimbledon and told him the wl story. Wimbledon ordered the detective: bring Rawson to his library. Rawson looked at Annabelle. “Ferhaps I should explain. I wai d those two shares because — because the hermit !” “You — the hermit?” exclaimed At)' belle. “Good gracious !” “Does it please you to meet your ! band like this?” whispered Rawson. “I love it,” sighed Annabelle, “ar and you !” (Seventy-eight) CLASSIC Temperance Drove Him to the Movies {Continued from page 24) footlights. One week after we had finished it we had to start Nazimova on ‘Toys of Fate.’ ‘Revelation’ was past and done. “This belief that screen producers do not equal stage managers is all a fallacy. We are up against problems that would swamp a footlight producer. For in- stance, where are we to find eighty stories a year? You know — and I know — that Metro, like other companies, does produce bad pictures at times. It cant be helped. We are working on schedule ; a good scenario may melt away in the filming, just as a poor one may turn out a celluloid winner. But, either way, it is made and must fit its place in the schedule.” Karger believes that there are two steps of advance just ahead of the pho- toplay. “Where are we to get our eighty stories, let me repeat?” he went on. “I believe, and I believe firmly, that a young line of authors is to develop. These men will have no style, they will not be authors in the present sense of the word, but they will possess the power to visualize, the ability to tell a story without conversation, in a word, the photodramatic sense. The average five- reeler, being crammed with movement and incident, has meat enough for three spoken plays. On the* other hand, the photoplay can frequently visualize three chapters of a book in twenty feet. Yet books, averaging more plot, make better picture dramas than stage plays. ‘When I go to see a photoplay I no longer criticize the story. I know the producer’s problem. It’s all very well to tell us to get the big literary men to write the scripts. They cant do it. Style — the formation of a sentence — is every- thing to them. They fail to grasp the fundamentals of a scenario. They per- sist in taking ten pages to show how John Blank got to the corner of Forty- second Street and Broadway, which we tell in a screen flash. They will not take us seriously. “This gradual development of the newer screen writer is one angle of the photoplay’s development. The other will come thru a better systematization of business methods in the studio. When I entered pictures I quickly came to a realization that the weakest link in the production chain was the director. The director had grown up in the early days. He was usually a graduate player, and a screen player at that time was a stage failure, for the films were in low estate. “Consequently many of these directors were incompetent. Nearly all of them were dizzy with their success. Where they had been getting fifty dollars a week they were getting five hundred. A company would be assembled at nine o’clock in the morning and Mr. Director wouldn’t arrive until after lunch. “I saw, as many others did, that this must stop. We at Metro have been doing our best to master the situation. (Seventy-nine) Skin is essential to an attractive complexion. It takes HINDS CREAM to soften the skin without making it greasy, oily or sticky; to soften so it will not chap even tho exposed to chilling winds; to soften and freshen the hands roughened and soiled by arduous Red Cross and hospital work, household, store and office duties. Nurses and surgeons know that naturally soft skin wards off skin troubles. Some have written us that HINDS CREA.M quickly restores their hands to natural velvety smoothness after being roughened by immersion in strong antiseptic solutions. Hinds Honey and Almond Cream keeps cheeks and neck fresh,' fair and exquisitely soft. Added chrum awaits the woman who selects the daintily- packaged requisites made by Hinds for improving the skin and complexion. SAMPLES ; Be sure to entlose stamps u)lih your request. Hinds Honey and Almond Cream 2c. Both Cold and Disappearing Cream 4c. Talcum 2c. Trial cake Soap 8c. Sample Face Powder 2c., Trial Size 15c. Allractiue Week-end Box 39c. Hinds Cream Toilet Necessities are selling everywhere, or will be mailed, postpaid in U, S. A., from Laboratory. A. S. HINDS 236 West Street Portland, Maine OPPORTUNITY MARKET FEMALE HELP WANTED Wanted — Ten bright capable ladies to travel, demon- strate and sell well-known goods to established dealers. $25.00 to $50.00 per week; railroad fare paid; weekly advance for traveling expenses. Address at once, Goodrich Drug Company, Dept. IG, Omaha, Neb. Ladies — Fascinating home business tinting postcards, pictures, photos, etc., spare time for profit. $5 on 100; no canvassing: samples 10c (stamps). Particulars free. Artint, 700-G, Station A, Brooklyn, N. T. Women To Sew. Goods Sent Prepaid To Tour Door; plain sewing: steady work; no canvassing. Send stamped envelope for prices paid. Universal Co,, Dept, 22, Philadelphia, Pa. GAMES AND ENTERTAINMENTS New Patriotic Plays, RecitatioiLS, Entertainments for war-time benefits, vaudeville sketches, monolognes, drills, tableaux, make-up goods. Large catalog free. T. S. Denison & Co., Dept. 63, Chicago. TOILET REQUISITES HAIR ON FACE, BODY OB UNDER ARMS positively removed with root; no electricity nor poisonous drugs; absolutely harmless and painless: write for particu- lars, or call for free demonstration. Mme. Berthe, Specialist. 12 West 40th St., N. Y. • STORIES WANTED OLD COINS WANTED '*01d Money Wanted.*' $2 to $500 each paid for hun- dreds of coins dated before 1895. Keep all old money. Send 10c for new illustrated coin value book, size 4x6. You may have coins worth large premiums. Get posted. Clarke Coin Co., Box 155, Le Roy, N. T. Wanted — Stories, articles, poems for new magazine. We pay on acceptance. Handwritten MSS. acceptable. Send MSS. to Woman’s National Mazazlne, Desk 496, Washington, D. C. Earn $25 Weekly, spare time, writing for newspapers, magazines. Experience unnecessary; details free. Press Syndicate, 561 St. Louis, Mo. SONG WRITERS WRITE THE WORDS FOB A SONG. If available we will write the music and guarantee publisher’s accept- ance. Send poems on love, victory, or any subject. Fairchild Music Co., Suite IS-W, 203 Broadway, New York. Write the Words for a Song. We compos© music, secure copyright and submit copies to leading pub- lishers. Submit poems now — examination free. 107-C Fitzgerald Bldg., Broadway at 43d St., N. Y. Write a Song — Patriotic or popular. On any subject. I compose music and guarantee publication. Send words today. Thos. Merlin. 231 Reaper Block, Chicago. Write the Words for a Song. We write music and guarantee publisher’s acceptance. Submit poems on war, love or any subject. Chester Music Co., 538 So. Dearborn St., Suite 193, Chicago. Write the Wordis for a Song. We compose music, secure copyright and submit copies to leading pub- lishers. Submit poems now — examination free. Broad- way Studios, 107-G Fitzgerald Bldg., Broadway at 43rd Street, New York. PATENTS PATENTS. Write for free illustrated guide book; send model or sketch for free opinion of its patentable nature. Highest references,' prompt attention, reason- able terms. Victor J. Evans & Co., 621 9th, Wash- ington, D. C. MISCELLANEOUS $35.00 Profit Nightly. Small capital starts you. Out- fits sold on installments. No experience needed. Our machines are used and. endorsed by Government insti- tutions. Catalog free. Atlas Moving Picture Co., 426 Morton Bldg., Chicago. $50 weekly and up selling Mexican Diamonds. Ex- actly resemble genuine; same rainbow fire; stand tests; sell at sight; repeat orders. Writ© quick for sample case offer free. Mexican Diamond Importing Co., MP., Las Cruces, New Mexico. PHOTOPLAYWRIGHTS AMBITIOUS WRITERS of photoplays, stories, poems, songs. Send today for new catalog of helpful sugges- tions. Atlas Pub. Co., 598, Cincinnati. See Here! We want your ideas for photoplays and stories! Criticised free. Sold on commission. Send for guide. MS. Sales Co., Dept 95, Poughkeepsie. N. Y. EREE TO WRITERS — A wonderful little book of money-making hints, suggestions, ideas; the A B C of successful story and movie play writing. Absolutely Free. Just address Writer’s Service, Dept. 4, Au- burn, N. Y. Scenario Writers — Get your manuscripts typed, 50c per thousand words. One carbon copy. Business envelope addressed to any producer you name sent free with, each manuscript. M. P. Harwood, 530 Baker St,, Flint, Mich. Learn foDraiw Earn $35to$l00aweek Women, as well as men, with knowledge of Mechanical Drawing, are now sought by the Government and pri- vate industries in greater numbers than ever before, at the best of salaries. Let us give you our thorough and practical training in this profession during your spare time, at home, by mail. • Complete Drawing Outfit Sent You Free when you enroll for our course. Great demand for our graduates. Drop us postal for book- let containing particulars of our course and methods, — letters from successful students, low rates and Easy Terms to Readers of This Magazine. COLUMBIA SCHOOL OF DRAFTING, ROY C. CLAFLIN, Pres., Dept. 969, Washington, D. C. MOTION PICTURE CLASSIC Suppose You Found 3 Dollars In Each Package You May Find It There in This Way The 32-cent package of Quaker Oats contains 6,335 calories — the energy measure of food value. See the table below. See what those same units cost you in other common foods. Note that each package, if used to displace meats, eggs and fish, saves you about $3. So the $3 is there — in real money saving — the same as though it came in bills. Here Is what the energy value In one Quaker Oats package costs in other foods at this writing. Cost of 6335 Calories In Quaker Oats - - - - $0.32 In Round Steak - - - - 2.56 In Veal Cutlets - - - - 3.56 In Eggs ------ - - 4.25 In Halibut - - - - - - 3.31 In Salt Codfish - - - - 4.87 ICS. a Extra-Flavory Flakes That means that ten breakfasts of Quaker Oats cost less than one average meat breakfast of the same energy value. But the difference Is greater than that. Quaker Oats is vastly better food. It is almost the ideal food — the complete food. It is the food of foods for children and for workers, regardless of its cost. Remember these facts when you plan your meals. Quaker Oats is oat flakes of super-grade and flavor. It is flaked from queen grains only — just the rich, plump, flavory oats. We get but ten pounds from a bushel. You get this luscious oat food without extra price when you ask for Quaker Oats. That is too great a fact to forget. Two Sizes: 12c to 13c — 30c to 32c Except in the Far West and South Packed in Sealed Round Packages with Removable Cover (2068) Now a script goes to a Metro director exactly as it is to be produced. A con- ference has been held, every change has- been made. The director has partici- pated in this conference and he is com- pelled to produce the script as he gets it.. “With all our companies on the coast working under ideal studio condi- tions, I am planning to go further with this systematization. I believe that each individual producing unit — that is, each director, star and supporting company — should have a business manager. This man will be in absolute control of the company, except for the artistic develop- ment of the picture, for which the direc- tor would be responsible. “This manager will be a cold-blooded business man. I would rather have him know nothing about art or the photoplay. He would lay out a schedule and see that it was lived up to in every detail. “The day of the director’s unlimited power has passed. Today — and tomor- row— the director will be in the position of an opera singer. He will follow his dramatic score carefully, giving it all the color and beauty in his power, but he will not take liberties with it.” Sliding Down the Banisters to Success {Continued from page 21) by one of the men, drinkers and gam- blers tho they may have been. “I promised myself, and mother and I promised each other, that some day we are going back. Then we’ll see old Bill Williams, the kindest, dearest Irishman that ever sleighed those parts in fur- skins. He was the one who drove us away the week we left. I shall never forget his concern about our comfort. “I have so much to be thankful for, so many people to whom I owe my grati- tude. There is Mr. McLane, for in- stance. Unpolished tho his methods of teaching may have been, often, of late, I have wished I had him here to give me his crude idea of the rudiments of a cer- tain action. That is why I do not regret one bit of sorrow I have had to under- go, or any of the hardships I had been forced to combat. All those difficulties have made me stronger in the end, and now I cannot help but sense that it was right for me to suffer. Yes, of course, it was hard. Because I was led to big things right at the beginning does not • signify that there were no knocks. There was youth, you know — youth, with its- assets and handicaps. Many were the disappointments and discouragements, but, as- 1 said, I feel now that they were all given to me with a dose of whyfore. They have taught me, so subtly and thoroly, how to appreciate what is worth appreciation. “That is the way I feel about the movies. I wanted to do the interesting work they provide. I got what I wanted, so it must have been right, and I must have worked and wanted tremendously hard, because I get to love them more^ and more every day.” (Eighty) In a public address at a Red Cross Benefit on June 23d, 1917, Theodore Roosevelt said: “Commodore Blackton started over two years ago in an effort to arouse this country to its peril — he has done more than any one man for the cause of Preparedness his foresight was uncanny. ‘The Battle Cry of Peace’ did a tremendous amount of good in assisting in recruiting.” (Eighty -one) The Hand of Blackton Pointed the Way Now another great screen masterpiece has been created by “The Hand of Blackton” “The Common Cause The SYLVIA BREAMER Story with a laugh, a thrill arid throb — the big film production of the year HERBERT RAWLINSON Presented to the public at the very stroke of the hour which it symbolizes the victory hour of the world’s civilized nations, bonded in a common purpose The Common Cause of Humanity. See it at your favorite theatre, , 14 Great Artists in the Notable Cast, featuring Herbert Rawlinson Sylvia Breamer Lawrence Grossmith Charles and Violet Blackton Huntly Gordon Louis Dean Mile. Marcel Philip Van Loan And in the Prologue and Epilogue : Julia Arthur Marjorie Rambeau Irene Castle Effie Shannon Violet Heming Pictures with the marJ^ of Blackton are worth while” BLACKTON PRODUCTIONS CHARLES AND VIOLET BLACKTON Studio, 423 Classon Ave. Brooklyn, N.Y, INC. 25 West 45th St., New York City (Eighty-two) 21 -Jewel $ Burlington A Month And yet you may get a 21-jeweI Burlington for only ;82.50 a month. Truly it is the master watch. 21 ruby and sapphire jewels, adjusted to the second, temperature, isochronism and positions. Fitted at the factory in a gold strata case, warranted for 25 years. All the newest cases are yours to choose from. You pay only the rock - bottom - direct -price — positively the exact price that the wholesale dealer would have to pay. O Tj. ZT'* J- / don’t pay a cent to anybody until you see the watch. We It /y St ' watch to you on approval. You are the sole judge. No KJ \/\/ M-Uf ^ obligation to buy merely because you get the watch on approval. Burlington Watch Co., Dept. 1552, 19th Street & Marshall Blvd., Chicago, III. Please send me (without obligations and prepaid) your free book on watches with full explanation of your cash or i52.SO a month offer on the Burlington Watch. Xfame. Address.. Write for Booklet! Put your name and address in the coupon or on a letter or post card now and get your Burlington Watch book free and prepaid. You will know a lot more about watch buy- ing when you read it. Too, you will see handsome illus- trations in full color of all the newest cases from which you have to choose. The booklet is free. Merely send your name and address on the coupon. Burlington Watch Company, 19th St. & Marshall Blvd., Dept. 1552, Chicago, IlL the U. S. Navy A WATCH has to be made of sturdy stuff in order to “make good” on a man-of-war. The constant vibration, the extreme heat in the boiler rooms, the cold salt air and the change of climate from the Arctic to the Tropical are the most severe tests on a watch. If a watch will stand up and give active service aboard a man-of-war, it’ll stand up anywhere. 6003 Burlingtons have been sold to the men aboard the U. S. battleships. Practically every vessel in the U. S. Navy has a Burlington aboard. Some have over 100 Burlingtons. The victory of the Burlington in the U. S. Navy is testimony to Burlington superiority. Modern manicuring does away forever with the un- even, thick, scraggly cuticle rim caused by manicure knife or scissors. Try this new way to-day! You wouldn’t have believed your nails could look so shapely, so well groomed! Just wrap a little absorbent cotton around the end of an orange stick (these come in the Cutex pack- age). Dip the stick into the Cutex bottle and work around the base of your nails, gently pushing back the cuticle. Rinse the fingers in clear water, pressing the cuticle back when drying the hands. Wouldn’t you like one of these complete sets? For 21c we will send you one of these manicure sets, complete with the cuticle remover, Cutex Nail White, Cutex Nail Polish and emery board, orange stick and cot- ton.. Send for yours to-day. Ad- dress Northam Warren, Dept. 902, 114 West 17th Street, New York City. Jf you live in Canada, send 2ic for your sample set to MacLean, Benn & Nelson, Limited, Dept 902, 489 St. Paul St. West, Montreal, and get Canadian pnces. The modern way manicure to NORTHAM WARREN Dept. 902, 114 West 17th Street, New York City Name Street City State Mail this coupon with 21c To-day Mevwooo STRASSt* 4.VOI6T Paramount and Artcraft Stars’ Latest Productions Here are their latest productions listed alphabetically, released up to January 3 Jst. Save the list! And see the pictures ! Paramount John Barrymore in “Here Comes the Bride” Enid Bennett ii) “Fuss and Feathers” Billie Burke in “The Make-Believe Wife” Lina Cavalier! in “A Woman- of Impulse” Marguerite Clark in “Little Miss Hoover” Ethel Clayton in “The Mystery Girl” Dorothy Dalton in “Quicksand” Pauline Frederick in “Out of the Shadovp” Dorothy Gish in “The Hope Chest” Lila Lee in “The Secret Garden” Vivian Martin in “Jane Goes a-Wooing” John Emerson-Anita Loos Production Shirley Mason and Ernest Truex in “Good Bye Bill” Charles Ray in “The Dub” Wallace Reid in “Too Many Millions” Bryant Washburn in “Venus in the East” Paramount- Artcraft Specials “The Hun Within,” with a Special Star Cast Private Harold Peat in “Private Peat” Maurice Tourneur’s Production “Sporting Life” “Little Women” {from Louisa M. Alcott's fanuiiis liooU), a Wm. A. Brady Pro- duction “The False Faces.” A Thomas H. Ince Production Artcraft Enrico Caruso in “My Cousin” George M. Cohan in “Hit the Trail Holiday” Cecil B. De Mllle’s Production “Don't Change Your Husband” Douglas Fairbanks in “Arizona” Elsie Ferguson in “His Parisian Wife” D. W. Griffith’s Production “The Koniance of Happy Valley” William S. Hart in “Branding Broadway” Mary PIckford in 'Mohanna Enlists” Fred Stone in “Under the Top” Supervision of Thos. H. Ince Comedies Paramount-Arbuckte Comedy “Camping Out” Paramount-Mack Sennett Comedies “(3ui)id's Day Off,” “Never too Old” Paramount-Flagg Comedy “Impropaganda” Mr. and Mrs. Sidney Drew in Paramount-Drew Comedies Paramount-Bray Piotograph One each week Paramount-Burton Holmes Travel Pictures One each week ybu wouldrit know the Old Town now! 8^ IME cannot blur some recollections. If you’ve ever lived around a small town, your memory needs no photograph of what it looked ^ like then. Seen the Old Town lately 1 Or any other of ten thousand and more like it throughout America — any day or night in the week? No, the “P. O.” is no more the hub of all rural life. The 7:20 mail is no longer the big excitement out where they still breathe fresh air and own broad acres. Much more going on than the “Annual County Fair” or the good old Church Social. In these times, whenever “Jones, the Farm- er” hankers after a couple of hours’ laughs and thrills, he goes just where “Brown, the City Banker” goes. And he sees just as fine motion pictures as Mr. Manhattan can see at Broadway’s toniest theatre. Just as fine, because just the same pictures ! The famous productions distributed by the Famous Players-Lasky Corporation. The pictures identified everywhere by the two names: Paramount and Artcraft. And those better motion pictures just naturally brought with them: — Handsome Modern Theatres All Over the Country. — Bigger Business for Local Merchants. — Broader, Happier Life to Every Man, Woman and Child. These two trade-marks are the sure way of identifying Paramount and Artcraft Pictures — and the theatres that show them i FAMOUS PLAYERS -LASKY CORPORATION 'J, ADOLPH ZUKORPres. JESSE l.LASKY Wc« Pres. CECIL B DEMUXED/rertorCenenz/ |i|| • YORIO • J MARCH lOth the last day For years you have read of O. Henry — you have read these advertisements and thought that some day you would own a set for yourself. And you have put ofif the sending from month to month. The time for that is gone. Now — today — you must order your set of O. Henry to get the low price and the Jack London FREE. So great is the popularity of O. Henry — so enormous is the demand for his books ■ — that we should like for all time to offer you sets at the present low price. But we can’t. It costs 41 per cent more to make the sets now than it did. Paper costs more — ink costs more — binding costs more. So the price has to go up. But to give you one more chance to get the present price, we have put off the raise in price till March 10th. That is the last day. Send the coupon now and get a set of O. Henry at the present price. So many sets of O. Henry have been printed that the old plates were entirely worn out and we had to make brand new plates for this edition, so you will get the very first impression from these new plates — the clearest, cleanest print you have ever seen. O. HENRY 274 Complete Stories One Long Novel One soldier in France had with him a volume of O. Henry which was split up into as many parts as there were stories, distributed and used until the print had worn away. With a touch that brings a lump into your throat and a stifled sob, he tells you of the under- paid drudges — the future mothers of America — 'who suffer rather than be bad — and of others. He shows you that the tired little shop girl, smothered behind a pile of shirtwaists, is a sister to the debutante smothered in the cushions of her big limousine with the same desires, impulses, little vices, the same tragedies and joys. He shows that though he never met you, he_ knows your life inside out, backwards and forwards — he has written all about you somewhere in these twelve magnificent volumes. FREE JACK LONDON 5 Volumes His name has spread over the earth. Imitators have arisen about him in a cloud — flatterers of his genius. He was a Norseman of the Western coast. Through him we may drop our weight of everyday fears and deal with men — for he was bolder than all his heroes. See life with him in the rough — life, palpitating- free of charge. -latent — real. Get his best work absolutely Only a Few Days Left This is your last chance to get O. Henry at the low price. Don’t miss it. Re- member one day’s delay may make you too late. Be sure your coupon is mailed * on or before March 10th, and the best way to make sure is to mail the coupon ^ right now. Up — up — up — goes the sale of O. Henry — higher and higher every f day. Two million six hundred thousand in the United States alone. How t ... many thousands in Australia, France, England, Africa, Asia, we cannot ^ Address tell. And you can have the books on approval at the low price — with A Jack London FREE. Don’t wait. SEND THE COUPON NOW. / Uccupation beautiful three-Quarter leather stylo R F.\^T F. Wf OF RE^^IEWS CO ^ binding of O. Henn' .costs only a few cents ^ M.P.C. 3-19 ^ REVIEW / OF J REVIEWS / COMPANY / 36lrvlngPI..N.Y. ^ Send m© on ap- ^ proval, charges paid by you, O. Henry's S works In 12 volumes, ^ gold tops. Also the 5- volume set of London bound in cloth with gold tops. If I keep the books, ^ I will remit a dollar a month ^ for 17 months for the O. Henry ^ set only and retain the Lon- ^ don set without charge. Other- ^ wise I will, within ten days, re- turn both sets at your expeajie. Name, 30 Irving Place New York / " more a volume and has proved a favorite binding. For a set in this luxurious binding send $1.50 for 15 months. Watch Your Nerves by PAUL von BOECKMANN The greatest of all strains upon the human body is that caused by nerve tension. Instant death may result from great grief or a sudden fright. The strongest man may in a few months shrink to a skeleton through intense worry. Anger and excitement may cause an upheaval of the digestive and other organs. It is simple to understand, therefore, that lesser strains upon the nerves must slowly but surely undermine the vital forces, decrease our mental keenness and generally wreck the body and health. In this simple truth lies the secret of health, strength and vitality. The noted British au- thority on the nerves, Alfred T. Schofield, M. D., the author of numerous works on the subject, says: “It Is my belief that the greatest single factor in the maintenance of health is that the nerves should be in order.” Few people realize the powerful influence the nerves have upon our well-being, and how they may torture the mind and body when they become deranged, supersensitive and unman- ageable. Few people realize they have nerves, and therefore heedlessly waste their precious Nerve Force, not knowing that they are ac- tually wasting their “Life Force,” and then they wonder why they lack “Pep,” have aches, pains, cannot digest their food, and are not fit, mentally and physically. Just think a moment what a powerful role your nerves play in your life. It is your nerves that govern the action of the heart, so that your blood will circulate. It is your nerves that govern your breathing, so that your blood will be purified. It is your nerves that pro- mote the process of digestion, assimilation and elimination. Every organ and muscle, before it can act, must receive from the nerves a cur- rent of Nerve Force to give it life and power. Your body and all its organs and parts may be compared to a complex mass of individual electric motors and lights, which are con- nected with wires from a central electric sta- tion, where the electric power is generated. When the electric force from the central sta- tion becomes weak, every motor will slow down and every light will become dim. Tink- ering and pampering the motors and light will do no good in this case. It is in the cen- tral station, the nervous system, where the weakness lies. I have devoted over thirty years to the study of physical and mental efficiency in man and woman. I have studied carefully the physical, mental and organic characteristics of over 100,000 persons in this time. As my experi- ence grows, I am more than ever convinced that nearly every case of organic and physical weakness is primarily due to nerve exhaustion. Powerful and healthy looking men and women who did not show the least outward signs of weak nerves, were found upon close mental and physical diagnosis to have exhausted nerves. Usually every organ was perfect and the muscles well developed, but there was not sufficient flow of Nerve Force to give these organs and muscles tone and power. How often do we hear of people running from doc- . tor to doctor, seeking relief for a mysterious “something the matter” with them, though re- peated examinations fail to show that any par- ticular organ or function is weak. It is “Nerves” in every case. We are living in the age of nerve strain, the “mile a minute life.” Every man, woman and child is over-taxing the nerves, thus wrecking that delicate system. Nerve strain cannot be entirely avoided, but it can be modified. Much can be done to temper the nerves against strain. Education along this line is impera- tively necessary if we are not to become a race of neurasthenics (nerve exhaustion). I have written a 64-page book which is pro- nounced by students of the subject to be the most valuable and practical work ever written on nerve culture. The title of the book is “Nerve Force.” It teaches how to soothe, calm and care for the nerves. The cost is only 25 cents (coin or stamps). Address Paul von Boeckmann, Studio No. 91, 110 West 40th St., New York. The only way to judge the value of this book is to read it, which you may do at my risk. In other words, if after reading the book it does not meet your fullest expectations, I shall return your money, plus the outlay of postage you may have incurred. I have adver- tised my various books on health, breathing and other subjects in this and other magazines for more than 20 years, which is ample evi- dence of my responsibility and integrity. Over a million copies have been sold. You should send for this book today. It is for you, whether you have had trouble with your nerves or not. Your nerves are the most precious possession you have. Through them you experience all that makes life worth living; for to be dull nerved means to be dull brained, insensible to the higher phases of life — love, moral courage, ambition and temperament. The finer your brain is, the finer and more delicate is your nervous system, and the more imperative it is that you care for your nerves. The book is especially im- portant to those who have “high_ strung” nerves, and those who must tax their nerves to the limit. The following are extracts from people who have read the book and were greatly benefited by the teachings set forth therein : “I have gained 12 pounds since reading your book, and I feel so energetic. I had about given up hope of ever finding the cause of my low weight.” "Your bpok did more for me for indigestion than two courses in dieting.” "My heart is now regular again and my nerves are fine. I thought 1 had heart trouble, but it was simply a case of abused nerves. I have re-read your book at least ten times.” A woman writes: “Your book has helped my nerves wonderfully. I am sleeping so well and In the morning I feel so rested.” “The advice given in your book on relaxation and calming of nerves has cleared my brain. Be- fore I was half dizzy all the time.” A physician says; “Your book shows you have a scientific and pro ound knowledge of the nerves and nervous people. I am recommending your book to my patients.” A prominent lawyer in Ansonia, Conn., says; "Your book saved me from a nervous collapse, such as I had three years ago. I now sleep soundly and am gaining weight. I can again do a real day’s work.” MOTION PICTURE CLASS Gossip From the Pacific Coast!] By FRITZl REMONT |H The premiere of “The Greatest Thing Life” came off beautifully, and a crowd house greeted Mr. Griffith and his playe demanding a curtain speech from the masi director. The production was preceded by original prolog written by Jack Lloyd, pi licity director for Mr. Griffith, and recil behind the scenes by George Fawcett. The stage was set for a beautiful tabk during this recitation, and dancers fn Denishawn completed a mighty pretty ent tainment. In the audience studio folk outnumbei society swells. Upstairs sat the fans, who more adoration than cash for a Griffith pi toplay. Kitty Gordon swept in regally, we ing her fifteen-thou’ sable cloak, its lustre beauty making everybody chance a disloca spine for just one peep. Winifred Kingston arrived just ahead Elliott Dexter. She wore a street suit black and white, small turban of black 2 ditto footgear. Jeanie MaePherson, Ad| Shirk and Kenneth McGaffey, well known i prominent writers of the Lasky studio, ca' in for a share of attention. Bill Desmoi just a bit gray over the ears, seemed ha: somer than ever. j In the lobby, one noted a most entrancj sandwich, for Marcia Manon was squeezii between May Allison and Lillian Walker, tl, blonde prettiness enhanced by Miss Mane dashing darkness and vampirish hair-dressi All wore gorgeous befurred evening do; Carmel Myers and her mother came in ha some furs, one of the New York purcha By the way, Carmel had a funny experici lately when going to a masquerade ball vj her brother, Zion, of the Universal City pj licity staff. They wore “twin” _ costumes— ' striped suit and cap of the criminal. Speec:;^ along, as they were a little late, a traffic stopped them and they were held up for 1 next morning. In fact, the copper wasn’t dined to believe their story about the stri suits being “fancy dress” and accompai them to their host’s home, where identifica was completed. Next morning, after the t the young folks slipped into their prisot outfit and had their pictures taken for postf to gloat over; Melbourne MacDowell visited the Bruijflj lot just before Xmas, to hobnob with his ' pal, Herschel Mayall. Mr. MacDowell is of the “grand old men” of the films, his pearance being much like that of Hei Standing. We are wondering if Fanny 1 enport (Mrs. MacDowell) would have >ie to the film lure if she’d lived. Surely t never was a handsomer Baron Scarpia Mr. MacDowell. Bessie Barriscale has had a grand wearing chaps. She’s got all the fixi' enough to make Roy Stewart and Bill groan with envy. Her spurs look like t little things we used years ago to trim crusts and make fancy vents in the v crust, but Bess is such a mild-tempered thing that she hasn’t the crust to dig ’em her horse, much less irritate an unoffer bit of dough. Alla Nazimova is doing a wonderful ;i in “The Red Lantern,” a Chinese Boxeil rising play. One set, a street scene, ! $18,000 to build, and at least 1,500 peoplej be employed in it. It’s the biggest thing j “Intolerance.” The madame plays a Cli; girl and her half-sister, and dies makij supreme sacrifice for the sister and their " It’s a bit mixing when they do these roles, dont you think so? One of the nicest things about May A1 )% gained from personal observation, henC'iWt many are privileged to know of it, is tha K is so utterly “hail fellow, well met” ii'™ studio work. She knows the first nam 0^ all the workmen, takes keen interest in families, and you’ll hear her pretty little calling, “Hello, Mike,” “See you later, 1^ “How’s the baby today, Jimmy?” Miss Uf (Continued on page 7) | (Four ■ Vol. VIll MARCH, 1919 No. 1 THE April Classic The foremost writers of the motion picture world are now contributing to The Mo- tion Picture Classic, many of them writing exclusively for us. Among them are such well-known authorities on the photoplay as Kenneth Mac- gowan, Harry C. Carr, Hazel Simpson Naylor, Elizabeth Peltret and Frederick James Smith. In The Motion Pic- ture Classic you will find the livest articles, the vividest interviews and the newest pic- tures. Among the April fea- tures are: CHARLIE CHAPLIN The April Classic will carry the brightest, most inti- mate chat with the famous comedian that you have ever read. At last the many-sided, real Charlie has been caught by an interviewer. With the chat are a number of exclusive new pictures taken for The Classic. OLIVE THOMAS The fair and vivacious Olive has been chatted in pi- quant fashion for the April issue. Caught just before she departed for the coast for her newest series of starring fea- tures, Miss Thomas gave an interesting and humorous in- terview. GRACE DARMOND The dazzling blonde of the screen tells an absorbing story — one that will grip you from the very first words. Miss Darmond is as interesting as she is pretty. A gripping and striking article on the photoplay will be contrib- uted by Kenneth Macgowan. There will be a dozen or so snappy personality stories with just the people you are interested in. The best of the month’s pho- toplays will be ably Actionized. One of these will be the newest Charlie Ray photo-comedy. And The Classic, famous for its beautiful pictures, will outdo itself. The Motion Picture Classic 175 Duffield St., Brooklyn, N. Y. (Five) THE GIRL ON THE COVER (Cover painted by Leo Sielke from photograph by Alfred Cheney Johnston) Ever since her first screen vampire in “A Fool There Was,” Theda Bara has held a vivid place all her own on the silverscreen. The world of the photoplay has perhaps no more oddly interesting star. Her many striking characteri- zations from “Carmen” to “Cleopatra,” from “Du Barry” to “Salome,” have caused widespread comment. Theda was born in Cincinnati, her father being Polish and her mother Swiss. Bara is in reality her grandfather’s name. Gallery of Popular Players. Rotogravure studies of Anita page Stewart, Norma Talmadge, Gloria Swanson, Alma Rubens and Billie Rhodes 11-15 The New Studio Art. The entrance of imagination and artistic ideals into the production of photoplays Kenneth Macgowan 16 After the War — What? What will be the subject of the next big screen drama? Frederick James Smith 19 Sunlight on White Velvet. An impressionistic chat with Marie Doro ..Hazel Simpson Naylor 20 The Den of a Modern Villain. The Hollywood home of Donald MacDonald., Mary Keane Taylor 22 The World of the Footlights. Scenes from the newest Broadway stage plays 24 Emergency Nagel. Opportunity has always knocked on Conrad’s door in a hurry C. Blythe Sherwood 26 Little Comrade. Vivian Martin’s charming new photoplay fictionized Dorothy Donnell 27 The Brownie Who Became a Star. The story of big Mitchell Lewis Fritzi Remont 31 Sis Normand. Mabel in her newest vehicle, “Sis Hopkins” 33 The Sixteenth Curley. Pauline was blessed with numer- ous brothers and sisters Fritzi Remont 34 The Quest of (Me) Grail. A novel interview with Walter told in verse....' Alexander Lowell 36 The Silent Star of the Silent Drama. How the famous Helen Keller acts for the motion picture cam.era Maude S. Cheatham 38 Cheating Cheaters. Clara Kimball Young’s fascinating crook mystery drarria told in story form Faith Service 39 Can This Be Mary? The celebrated Mary Thurman makes her first appearance in drama 43 The Celluloid Critic. The newest photoplays in ..Frederick James Smith 44 The Greeley Expedition to the Zoo. Evelyn takes a day off ._ 46 The Stagnation of the Screen. Herbert Brenon believes the photoplay is at a standstill Charles Jameson A7 Caught in Dressing-Room No. 10. Capturing Harry Morey in his lair Harold Bennett 48 The Mysterious Miss Clayton. The elusive Paramount star and her adventures Elizabeth Peltret 50 The Extra Girl, Anita and John. An Emerson-Loos comedy in the making Ethel Rosemon 52 The Fame and Fortune Beauties. The second honor roll in the international contest 54 The Lion and the Mouse. A short story based on Alice Joyce’s newest screen play Olive Carew 55 Double Exposures. Humorous comments upon the screen plays and players Conducted by F. J. S. 60 The Movie Encyclopedia The Answer Man 78 Published monthly at 775 Diiffield Street, Brooklyn, N. Y, ^ Subscription, $2.00 a year, in advance, including postage in the U. S., Cuba, Mexico, and Philippines; in Canada, $2.30 a year; in foreign countries, $3.00. Single copies, 20 cents, postage prepaid. One-cent stamps accepted. Subscribers must notify us at once of any change of address, giving both old and new address. Entered at the Brooklyn, N. Y.., Post Office as Second-class Matter. Copyright, 1919, by the M. P. Publishing Co., in the United States and Great Britain, a New York corporation, with its principal offices at Bayshore, N. Y. Eugene V. Brewster, President; J. Stuart Blackton, Vice-President; E. M. Heinemann, Secretary; Eleanor V. V. Brewster, Treasurer. STAFF FOR THE CLASSIC: Eugene V, Brewster, Managing Editor; Frederick James Smith, Literary Editor Dorothy Donnell, Robert J. Shores, Edwin M. La Roche, Fritzi Remont Associate Editors Guy L. Harrington Sales Manager Duncan A. Dobie, Jr Advertising Manager Archer A. King Western Manager Metz B. Hayes New England Manager MOTION PICTURE CLASSIC - - - 175 Duffield St., Brooklyn, N, Y. This magazine comes out on the 15th of every month. Its elder sister, the Motion Picture Magazine,, comes out on the first of every month. Both are on sale at all newsstands in the English-speaking worlds THEMA0O^Co• ^ „ OHEMISTS ^ . • .jS Aviation Write today. See how you can learo the principles of Aero- nautical Construction and Engineering in your spare time at home. Save all the time and expense of laborious field train- ing. Big opportunities now for trained Aviation Experts in dif- ferent branches of the service. $50.00 to $250.00 a week. Write It flnral tuition reduction offer now open. Write for ifiiiB Ml uiiti;. details while this offer lasts. No obligations. AMERICAN SCHOOL OF AVIATION, Dept 7933, 431 S. Dearborn St.. Cbicago, III. with frOfTir DIAMOND office RiNooFrea Joel to edvartise onr famoao Bawailoa Im. diamosdB— the sreatest discovery the world haa ever known. We will tend at>> •olutely free this 14k sold f- Hn^. aat a l-2k BawallaD im. dlamona auvoruBUiir« uMuui'UK. yuu ciui *eu it from a real diamond retora and money tea funded. Only 10,000 given away. Sendott money Answer quick. Bend eize of 6ngagt KRAUTH & REED, Dept. 69 MASONIC TEMPLE CtUMCO Write the Words for a Song! We compose music, secure copyright and submit copies to leading publishers. Submit poems now — examination free. Broadway Studios, 107D Fitzgerald Bldg., Broadway at 43rd Street, N. Y. Hawaiian GuHar, Violin, Man- dolin, Guitar. Cornet or Banjo 'Wonderful new system of teaching note music by mail. ' ' To first pupils in each locality, we’ll give a $20 superb Violin. Mandolin, Ukulele, Guitar, Hawaiian Guitar, Cometor Banjo absolutely free. Very small charge for lessons only expense. We guarantee success or no charge. Complete outfit free. Write at once— no obligation. SLINGEBLANO SCHOOL OF IWUSIC, Dept. 404. CHICAGO, ILL My method is the only way to prevent the hair from grow- ing again. Easy, painless, harmless. No scars. Booklet free. Write today enclosing ,S stamps. We teach beauty culture. D. J. MAHLER, 403-X Mahler Park, Providence, R. I. MAGDACREAM Softens, Beautifies and Preserves the Skin Smooths out incipient lines eind feeds wasted Tissues. JAPANESE JARS 75c Opal Jars 50c Tins. DRUGGISTS or DIRECT ..$1.00 Send 25c fora very generous Trial Package FRED C. KEEUNG & CO., Rockford, III Well, Whatdoya Thinka This? Here’s a Find for the Aspiring Photoplaywright! We have just the very books you’ve been wishing fori The very books you've been wondering why someone hasn’t writ- ten! The editions are mighty limited, and the spiyer you are, the more certain you will be of your copies. “Here Lies" is a little book of infinite value for those who think they've an original idea. This little book tells all about the plots long abused and worn threadbare. We have only 400 of these on hand, and to the aspiring playwright this little bock, for 25c, will bring a wealth of knowledge usually acquired only by years of study. “The Photcplaywright's Primer" is a booklet that tells you in the very simplest of English how to construct your photo- play. This is 50c — and it will prove 50o well spent. We have only 800 of these, so be quick. Because of the limited supply, we will sell both copies for 65c. This is an investment you can't afford to lose. Mail your money today. M. P. PUBLISHING CO.. 175 Duffieid Street, Brooklyn. N.Y. Kill The Hair Root Stage Plays That Are Worth While \ (Readers in distant towns will do well to preserve this list for reference when these speaking plays appear in their vicinity.) M Bijou. — “Sleeping Partners.” Piquant com- edy of the French boulevards before the war. Irene Bordoni delightful, while H. B. Warner contributes a deft comedy characterization. Prismatic farce. Cohan & Harris. — “Three Faces East.” An- other Secret Service-German spy drama, this by Anthony Paul Kelly, one of our most successful photoplaywrights. The principal charm of this play is in trying to guess who are the German spies and who are the Allies, just as we were puzzled in “Cheating Cheaters” to know who were the burglars and who were not. Fulton. — “The Riddle: Woman,” with Ber- tha Kalich. Problem drama from the Danish. Ladies with “pasts,” a he-vampire and much emotionalism. Kalich gives a picturesque if artificial performance, while Chrystal Herne and A. E. Anson make the most of their roles. tertaining with tuneful Jerome Kern musi^, and the highly amusing Robert Emmett* Keane. I “Where Poppies Bloom.” Melodramatic !■ war play of a woman who discovers that herl. husband is a Hun spy. Action takes place onS the Flanders battle line. Marjorie Rambeau is very emotional in the star role. “Keep Her Smiling.” A typical Mr. and Mrs. Sidney Drew comedy. Mr. Drew does i the cleverest bit of acting of his career, and I alas ! alack ! the screen has probably lost for- I ever one of its brightest stars. Mrs. Drew is ' more charming and “younger” than ever be- | fore. ’ “Fiddlers Three,” lively little operetta with considerable fun and much good music. Louise j Groody scores as a captivating little ingenue [ and dancer, while the lanky Hal Skelly’s I humor is amusing. Altogether a likeable en- i tertainment. " t Hippodrome.^ — The newest production, “Everything,” lives up to its title. It is a maze of varied attractions, ranging from dainty Belle Storey to scores of remarkable roller skaters, from De Wolf Hopper to a stage full of tumbling Arabs. Lyceum. — “Daddies.” Appealing little drama of three bachelors who adopt Belgian war babies. Amusing complications occur when the children develop along unexpected lines. Jeanne Eagels is quaintly pleasing in the lead- ing role. Lyric. — “The Unknown Purple.” Interesting and well sustained thriller. The story of a convict who discovers a way to make himself invisible, transforming into a purple ray, and who starts out to get revenge. The invisible man steals necklaces, opens safes and passes thru doors. Richard Bennett gives a vigorous performance of the human ray. Playhouse. — “Forever After.” Alice Brady in a play of youthful love which endures despite many obstacles. Excellently acted thruout. It charms its audience into living once again the violent joys and heart-aches of youth. Plymouth. — “Redemption.” John Barrymore at his best in a remarkable piece of acting and a remarkable Tolstoi play. Sad, but big. Republic. — Channing Pollock has devised an odd drama, “Roads of Destiny,” from the O. Henry story. No matter what path one takes, the ultimate result is the same, is the philos- ophy of the drama. Florence Reed is admir- able in three widely contrasted roles. Shubert.- — “The Betrothal,” Maurice Mae- terlinck’s sequel to “The Blue Bird.” Superb production of a drama rife with poetic sym- bolism and imaginative insight. Remarkably beautiful series of stage pictures. Excellent cast, with Reginald Sheffield as Tyltyl. ON THE ROAD. “The Saving Grace.” Delightful English comedy by Haddon Chambers, brilliantly played by Cyril Maude as a cashiered British army officer trying to get back in the big war. Laura Hope Crews admirable. “Under Orders,” another war drama, and a good one, altho only two actors are necessary to tell the story — Effie Shannon and Shelley Hull, who are both fine. Plenty of weeps, with a sprinkle of mirth. “Home Again.” A highly entertaining com- edy with lots of homey atmosphere and old- fashioned rural characters, founded on the poems and stories of J. Whitcomb Riley. The cast is extremely strong from top to bottom and the story is engrossing. “Be Calm, Camilla.” One of the most charming plays of the season. Lola Fisher makes a hit in a part of the Mary Pickford type and will doubtless be heard from on the screen. “Head Over Heels,” with the saucy Mitzi as a delectable little vaudeville acrobat. En- “Going Up.” A charming musical farce written around an aviator, with Frank Craven j in an interesting role. The music is unusually . bright and catchy. n “The Passing Show of 1918.” One of the H best of the Winter Garden shows. Pretty girls T and stunning costumes. Among the features are the amusing Howard Brothers; that lively dancing team, Fred and Adele Astaire; and the laughable Dooley Brothers. \ “The Copperhead.” One of the big dra- r matic successes of last wintp, by Augustus ,! Thomas. A drama that will live. “The Little Teacher.” A charming play, full of human interest, and played by a company i every one of which makes a hit. Mary Ryan is excellent, as usual, and her support is un- - usually good. ■» ' “A Tailor Made Man.” An altogether capti- i vating comedy full of laughs, built around a | young tailor who became great thru reading j the book of an unsuccessful author and who i then hires the latter to work for him. i “The Kiss Burglar.” One of the most charm- ! ing of musical-comedies. Pleasant music, dis- i tinction of book and considerable humor. | Above all the fascinating personality of Fay ■ Bainter. Very pretty chorus. ^ “Oh, Lady! Lady!!” Chic musical-comedy. 1 Daintiness, wit, a well-balanced, all-star cast ! and catchy music are the outstanding charm of I this offering intime. { “Parlor, Bedroom and Bath.” A roaring i farce of the class of “Fair and Warmer,”, “Twin Beds” and “Up Stairs and Down,” and' J about as funny and racy as any of them. “Flo-Flo.” This glorified burlesque caught ! Broadway last season. Sprinkle some catchy j music between the gags, add a flashing chorus, | season well with bold if not risque situations, f and flavor with dazzling costumes and you „ have “Flo-Flo” ready to serve. The stars and support display well-modulated voices and I i some real honeymoon lingerie. i P “Maytime.” A dainty, touching comedy with ' j music. It has a real plot, following the life of , a young couple from youth to old age, in- 11 terspersed with tuneful music and some danc- i ing. ^ “Tiger Rose.” An intense and very popular [I drama similar to “The Heart of Wetona,” in i which Lenore Ulric plays the part of an Indian | i maiden who loves and swears charmingly. -1 LEADING PICTURE THEATERS. Loew’s N. Y. and Loew’s American Roofi—W Photoplays ; first runs. Daily program. ^ , , Rivoli — De Luxe photoplays, with full sym- j phony orchestra. Weekly program. 1 Rialto. — Photoplays supreme. Program changes every week. ' Strand. — Select first-run photoplays. Pro-**! gram changes every week. (Six) V motion picture classic “ YouWe Afraid!” “1 AIN’T afraid.” “You are.” “I ain’t.” “You are.” What would have happened next if you were a boy? A frightful mix-up. With the calm unreasonableness of youth these two boys fought without even knowing each other — just as you have fought many a time — just because you couldn’t help it. MARK TWAIN 25 Volumes — Novels. Boys’ Stories. Humor. Essays. Travel. History. Gossip From the Pacific Coast {Continued from page 4) son is entirely unaifected, is easy to meet, has the gracious Southern manner, and couldn’t make an enemy if she tried a hundred years. We saw Bert Lytell on Broadway, shopping for the merry twenty-fifth. He’s another who has a cheery word for the lowliest scene- shifter on the lot. A little bird whispered that Bert surely did work hard at the Officers’ Training Camp, that he bought about every book on military tactics extant. Mr. Lytell never does anything half-way; he’s a fine orator, a good student, and he made up his clever mind that if he had to give up pictures for the army, he was going to be as good an officer as it was humanly possible for him to be. He has a complete library of military books and is still reading them concentratively in odd moments. Jack Bickford has taken up quarters at the L. A. Athletic Club and is trying to content himself without home cooking. Earle Williams won the first point in his defense of the heart-balm suit brought against him. His lawyers entered a demurrer to the compilaint, stating that it did not present facts sufficient to constitute a cause of action against Mr. Williams. The judge sustained this de- murrer and allowed ten days in which to file a new complaint. It’s another case of “Hell hath no fury like a woman scorned’’- — and_ it isn’t much fun to have one’s honeymoon in- terrupted by a lawsuit, now is it? George Fisher is released from Camp Kearney and is getting ready for his re- entrance to the flickerfield. He’s got a lot of good camp stories on hand, but the funniest was about a rookie who’d come from a very small Middle West town and was horribly homesick. In fact, he mooned about so much that he’d be in a trance half the time. One day they were drilling on the field, and the sergeant gave orders to rear march. The dreamy one paid no attention, got everybody out of line and was rudely awakened by the sergeant’s irritated voice: “What in h are you doing here?” The startled rookie’s mouth quivered, and he said, tremblingly, “P-p-please, sir, I-I-I-I w-w-uz d-d-d-drafted, sir!’’ And the whole company had leave to laugh it out. George Fisher, Jack Bickford, Owen Moore and Jim Kirkwood had a sociable reunion din- ner at the Hotel Alexandria one night in De- cember. They are old pals, having worked under Mr. Kirkwood’s direction many times. The Christmas cards of the Gish girls were particularly beautiful. Both bore a kalogram in silver and green, and the heavy card was bordered in the same colors. Lily’s had an embossed white lily with green leaves, and bore the wish, “May life be glad and good to you, and all your Christmas dreams come true,’’ while Dot’s message was a little longer, reading, “May Christmas bring you content and merriment and the coming New Year peace and happiness.” Margarita Fisher had a card bearing her signature in gold, and Pat Dowling sent an unique effort, bearing a little sailor, who recited quaintly, “Now that our w. k. Uncle Sam has dropped an ‘At Liberty’ notice in our Christmas stocking, we must admit we’ve never been fired by a better boss. The season’s greetings from Pat Dowling.” Mr. Dowling will be back in the publicity field soon. _ He’s done mighty good war work along that line, helping out all the Red Cross and other entertainments, in addition to his stren- uous training at the naval base, San Pedro. I Douglas Fairbanks stopped traffic on the ! Saturday before Xmas, while he rode about encouraging the street-corner W. S. S. work- ; ers, who had booths capped by Liberty Bells, I which were rung after each sale. He adver- , tised for two thousand aides and got them ' without difficulty. Everybody wanted to be I honored by the personal handshake of the j stunt king. j Margarita Fisher did a similar stunt. She leased an entire town on the Mojave Desert, ! the _ little village of Rosamond. Awfully stylish name for a desert town, dont you think ? (Seven) No wonder our soldiers and sailors like Mark Twain best. No wonder the boys at Annapolis told Secretary Daniels that they would rather have Mark Twain than any one else. To them, as to you, Mark Twain is the spirit of undying youth — the spirit of real Americanism — for he who came out of that loafing — out-at-elbows — do wn-at-the- heels Mississippi town — he has passed on Perhaps you think you have read a good deal of Mark Twain. Are you sure ? Have you read all the novels? Have you read all the short stories? Have you read all the brilliant fighting essays? — all the hu- morous ones and the historical ones? Think of it— 25 volumes filled with the laughter and the tears and the fighting that to the world the glory of our inspiring Americanism — the serious purpose that un- derlies our laughter — for to Mark Twain humor is only incidental — and he has made eternal the springs of its youth and enthu- siasm. Take Huckleberry Finn and Tom Saw- yer by the hand and go back to your own boyhood. made Mark Tv/ain so wonderful. He was a bountiful giver of joy and humor. He was yet much more, for, while he laughed with the world, his lonely spirit struggled with the sadness of human life, and sought to find the key. Beneath the laughter is a big human soul, a big philosopher. Low Price Sale Must Stop Mark Twain wanted every one in America to own a set of his books. So one of the last things he asked was that we make a set at so low a price that every one might own it. He said : “Don’t make fine editions. Don’t make editions to sell for $200 and $300 and $1,000. Make good books, books good to look at and easy to read, and make their price low.” So we have made this set. And up to now we have been able to sell it at this low price. Rising costs make it impossible to continue the sale of Mark Twain at a low price. New editions will cost very much more than this Author’s National Edition. But now the price must go up. You must act at once. You must sign and mail the coupon now. If you want a set at a popular . ^ m p c price, do not delay. This edition will soon be withdrawn, and then you /*' 'scia' will pay considerably more for your Mark Twain. b'rot’hers The last of the edition is in sight. There will never again be a / a Franklin square, set of Mark Twain at the present price. Now is your oppor- aiiTJ^pre- tunity to save money. Now is the time to send the coupon to / fn®®25'’^vXm^s’’^inus- get your Mark Twain. / trated, bcmnd In handsome green ^ J cloth, stamped in gold, with HARPER & BROTHERS, Est. 1817, Franklin Sqnare, N. Y. / Otherwise I will send you $2 with- ||-| . --I-:.. . n ii-ifiiiiiif^i ^ ^ 5 days, and $2 a month few 15 months. For cash, deduct 8% from re* mittance. Name Address..... Occupation For our beautiful red half-leather edition, change above terms to $1.50 within 5 days and $4.00 a mo. for 12 mos. A Big Human Soul The Perfect Hair Remover DEMIRACLE, the original sanitary liquid, is equally efficacious for removing superfluous hair from face, neck, arms, underarms or limbs. This common-sense method is both logical and practical. It acts quickly and with absolute certainty. DeMiracle requires no mixing. It is ready for instant use. Therefore, cleanly and most convenient to apply. Samples — We do not supply them, but you can try DeMiracle at our ex- pense. 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That on theii entrance, half a dozen detectives sprang uf from diflferent parts of the place. Because of them the lights of the War De- partment in Washington blazed far into th(! night. With their fate was wound the traged}! of a broken marriage, of a fortune lost, of i nation betrayed. It is a wonderful story with the kind of mystery that you will sit up nights trying tc fathom. It is just one of the stories fashioned by that master of mystery ARTHUR B. REEVEi (The American Conan Doyle) CRAIG KENNEDY (The American Sherlock Holmes) He is the detective genius of our age. He has taken science — science that stands for this age — and allied it to the mystery and romance of detective fiction. Even to the smallest detail, every bit of the plot is worked out scientifically. For nearly ten years, America has been watching his Craig Kennedy — marvelling at the strange, new, startling things that detective here would unfold. Such plots — such suspense — witL real, vivid people moving through the mael, Strom of life! Frenchmen have mastereji the art of terror stories. English writerj' have thrilled whole nations by their artfuj heroes. Russian ingenuity has fashioneij : wild tales of mystery. But all these seer| j old-fashioned — out-of-date — beside the ici ; finite variety — the weird excitement o J Arthur B. Reeve’s tales. i j FREE — 10 Volumes — POE To those who send the coupon promptly, we will give FREE set of Edgar Allan Poe’s works in 10 volumes. When the police of Paris failed to solve one of the most fearfi murder mysteries of the time, Edgar Allan Poe — far off here ij New York — found the solution. The story is in these volumes. He was a detective by instinct — he was a story-teller by divir. inspiration. Before or since — no one has ever had his power 1| make your hair stand on end — to send chills up your back — to holj you in terror — horror ! To read breathlessly — to try to guess tl| ending — to enjoy the perfect, flawless style — to feel the power ( the master — that is all you can do in each and all of Poe’s undyir stories. In England and France, Edgar Allan Poe is held to be tl greatest writer that America has produced. To them he is the gre. American classic. This Is a wonderful combination. Here are two of the greate writers of mystery and scientific detective stories. You can get tl Reeve at a remarkably low price and the Poe FREE for a sho time only. Sign and mail the coupon now. '• HARPER & BROTHERS Established 18i\ HARPER & BROTHERS, M. P. C.-3I j 8 Franklin Square, New York j < Send me, all charges prepaid, set of Arthur B. Reeve — in 12 volumes. Also send n| absolutely free, the set of Edgar Allan Poe — in 10 volumes. If the books are not salj j factory J will return both sets within 10 days at your expense. Otherwise I will se, i you $1.50 a month for 13 months. ! NAME ADDRESS OCCUPATION (Eight) How One Evening^s Study Led to a $30,000 Job A Simple Method of Mind Training that Any One Can Follow with Results from the First Day By a Man Who Made Formerly No More Than a Decent Living I HOPE you won’t think I’m conceited or egotistical in trying to tell others how I suddenly changed from a comparative failure to what my friends term a phe- nomenal success. In reality I do not take the credit to my- self at all. It was all so simple that I believe any man can accomplish practically the same thing if he learns the secret, which he can do in a single evening. In fact, I know others who have done much better than I by following the same method. It all came about in a rather odd manner. I had been worrying along in about the same way as the average man, thinking that I was doing my bit for the family by providing them with three square meals a day, when an old chum of mine, Frank Powers, whom I had always thought was about the same kind of a chap as I, suddenly blossomed out with every evidence of great prosperity. He movqd into a fine new house, bought a good car and began living in the style of a man of ample means. Naturally the first thing I did when I noticed these things — for he had said nothing to me about his sudden good fortune — was to congratulate him and ask him what had brought the evident change in his finances. “Bill,” he said, “it’s all come so quickly I can hardly account for it myself. But the thing that has made such difference in my life lately began with an article I read a short time ago about training the mind. “It compared the average person’s mind to a leaky pail, losing its contents as it went along, which if carried any distance would arrive at its destination practically empty. “And it showed that instead of making the pail leakproof, most of us kept filling it up and then losing all we put into it before we ever reached the place where the contents would be of real use. “The leak in the pail, the writer demon- strated, was forgetfulness. He showed that when memory fails, experience, the thing we all value most highly, is worthless. ^ He proved to me that a man is only as good as his memory, and whatever progress a man accomplishes can be laid directly to his powers of retain- ing in his mind the right things — the things that are going to be useful to him as he goes along. “Farther on in the article I read that the power of the mind is only the sum total of what we remember — that is, if we read a book and remember nothing that was in it, we have not added one particle to our ex- perience; if we make a mistake and forget about it, we are apt to make the same mistake again, so our experience did not help us. And so on, in everything we do. Our judgment is ab- solutely dependent on our experience, and our experience is (Nine) ~ only as great as our power to remember. “Well, I was convinced. My mind was a ‘leaky pail.’ I had never been able to re- member a man’s name thirty seconds after I’d been introduced to him, and, as you know, I was always forgetting things that ought to be done. I had recognized it as a fault, but never thought of it as a definite barrier to business success, I started in at once to make my memory efficient, taking up a memory training course which claimed to improve a man’s memory in one evening. What you call my good fortune today I attribute solely to my exchanging a ‘leaky pail’ for a mind that retains the things I want to remember.” Powers’ story set me thinking. What kind of a memory did I have? It was much the same as that of other people I supposed. I had never worried about my memory one way or another, but it had always seemed to me that I remembered important things pretty well. Certainly it never occurred to me that it was possible or even desirable to improve it, as I assumed that a good mem- ory was a sort of natural gift. Like most of us, when I wanted to remember something particularly I wrote it down on a memoran- dum pad or in a pocket note-book. Even then I would sometimes forget to look at my reminder. I had been embarrassed — as who has not been? — by being obliged to ask some man whom I had previously met what his name was, after vainly groping through my mind for it, so as to be able to introduce him to others. And I had had my name re- quested apologetically for the same purpose, so that I knew I was no different than most men in that way. I began to observe myself more closely in my daily work. The frequency with which I had to refer to records or business papers concerning things that at some previous time had come under my particular notice amazed me. The men around me who were doing about the same work as myself were no dif- ferent than I in this regard. And this thought gave new significance to the fact that I had been performing practically the same subordinate duties at exactly the same salary for some three years. I -couldn’t dodge the fact that my mind, as W'ell as most other people’s, literally limped along on crutches, because it could not retain names, faces, facts and figures. Could I expect to progress if even a small proportion of the important things I learned from day to day slipped away from me? The only value of most of my hard-won experience was being canceled — obliterated — by my constantly forgetting things that my experience had taught me. The whole thing hit me pretty hard. I began to think about the subject from all angles as it affected our business. I realized that probably hundreds of sales had been lost because the salesman forgot some selling point that would have closed the order. Many of our men whom I had heard try to present a new idea or plan had failed to put over their message or to make a good im- pression because they had been unable to remember just what they wanted to say. Many decisions involving thousands of dol- lars had been made unwisely because the man responsible didn’t remember all the facts bearing on the situation and thus used poor judgment. I know now that there isn’t a day but what the average business man forgets to do from one to a dozen things that would have increased his profits. There are no greater words in the English language de- scriptive of business inefficiency than the two little words “I forgot.” I had reached my decision. On the recom- mendation of Powers, I got in touch at once with the Independent Corporation which shortly before had published the David M. Roth Method of Memory Training. And then came the surprise of my life. In the very first lesson of the course I found the key to a good memory. Within thirty min- utes after I had opened the book the secret that I had been in need of all my life was mine. Mr. Roth has boiled down the prin- ciples perfecting the memory so that the method can almost be grasped at a glance. And the farther you follow the method the more accurate and reliable your memory be- comes. Within an hour I found that I could easily memorize a list of 100 words and call them off backward and forward without a mistake. I was thunderstruck with the ease of it all. Instead of study, the whole thing seemed like a fascinating game. I discovered that the art of remembering had been re- duced by Mr. Roth to the simplest method imaginable — it required almost nothing but to read the lessons! Every one of those seven simple lessons gave me new powers of memory, and I enjoyed the course so much that I look back on it now as a distinct pleasure. The rest of my story is not an unusual one among American business men who have realized the value of a reliable trained mem- ory. My income today is close to $30,000. It will reach that figure at the beginning of our next fiscal year. And two years ago I scarcely made what I now think of as a decent living. In my progress I have found my improved memory to be priceless. Every experience, every business decision, every important name and face is easily and definitely recorded in my mind, and each remembered experience was of immense value in my rapid strides from one post to another. Of course I can never be thankful enough that I mended that “leaky pail’^ and discovered the enormous possibilities of a really good memory. SEND NO MONEY Mr. Roth’s fee for personal instruction to classes limited to fifty members is $1,000. But in order to se- cure nation-wide distribution for the Roth Memory Course in a single season the publishers have put the price at only five dollars, a lower figure than any course of its kind has ever been sold before, and it contains the very same material in permanent form as is given in the personal $1,000 course. So confident is the Independent Corporation, the pub- lishers of the Roth Memory Course, that once you have an opportunity to see in your own home how easy it is to double, yes triple the powers of your memory, and how easily you can acquire the secret of a good memory in one evening, that they are willing to send the Course on free examination. Don’t send any money. Merely mail the coupon or write a letter and the complete course will be sent, all charges prepaid, at once. If you are not entirely satis- fied, send it back any time within five days after you receive it and you will owe nothing. On the other hand, if you are as pleased as are the thousands of other men and women who have used the course, send only $5 in full payment. You take no risk and you have everything to gain, so mail the coupon now before this remarkable offer is withdrawn. FREE EXAMINATION COUPON INDEPENDENT CORPORATION Publishers of The Independent Weekly Dept. R-S73 119 West 40th Street, New York Please send me the Roth Memory Course ot seven lessons. 1 will either remail the course to you within five days after its receipt or send you $5. Name Address M. P. Classic 3-19 David M. Roth Wlien Mr. Both first de- termined to exchange his leaky mind for one that would retain anything he wanted it to, it was be- cause he found his memory to be probably poorer than that of any man he knew, He could not remember a man's name 20 seconds. He forgot so many things that he was convinced he could never succeed until he learned to remember. Today there are over ten thousand peoiple in the United States whom Mr. Roth has met at different times — most of them only once — whom he can in- stantly name on sight. Mr. Roth can and has hundreds of times at din- ners and lectures asked fifty or sixty men he has never met to tell him their names, businesses and tele- phone numbers and then after turning his back while they changed seats, has picked each one out by name, told him his telephone number and busi- ness connection. These are only a few of the scores of equally “impossible" things that Mr. Roth can do, and yet a few years ago he couldn't remember a man's name twenty sec- onds. Why go around with a mind like a leaky pail when, as Mr. Roth says, “what I have done any one can do"? A SKIN YOU LOVE TO TOUCH Painting by Charles Chambers \ou, too, can have the charm of ^ skin you love to touch” So You, TOO, CAN HAVE THE CHARM of a skin that is soft, clear, radiant. Everyone admires it. Every girl longs for it. To have your skin as lovely as it ought to be — soft, clear, colorful — all you need to do is to give it the proper care for its needs. No matter how much you may have neglected your skin, you can begin at once to improve it. New skin is forming every day as old skin dies. If you give this new skin the right care every day., you can keep it fresh and radiant. Such things as blackheads, blemishes and unsightly spots, you can, with the proper treatment, correct. Begin today to give your skin the right treatment for its particular needs. You will find the famous treatments for all the commoner skin troubles in the booklet wrap- ped around every cake of Woodbury’s Facial Soap. You will find that a cake of Woodbury’s lasts for a month or six weeks of any treatment and for general cleansing use. It sells for 25c at drug stores and toilet goods counters throughout the United States and Canada. This beautiful picture in colors for framing — Send for your copy today! This picture with sample cake of soap, booklet of treatments and a sample of Woodbury’s Facial Powder, for 15c This picture is Charles Chambers’ interprc- tation oi “A Skin You Love to Touch.” It has been reproduced from the original oil painting, in full colors and on fine quality paper, expressly for framing. No printed matter on it. Size 15 x 19 inches. For 15c we will send you one of these beautiful reproductions with a trial size cake of Woodbury’s Facial Soap — large enough for a week’s treatment — also the booklet of treat- ments— “A Skin You Love to Touch,” and a sample of Woodbury’s Facial Powder. Thousands will want this picture. Send for your copy at once. Write today to The Andrew Jergens Co., 903 Spring Grove Avenue, Cincinnati, Ohio. If you live in Canada, address: The Andrew Jergens Co., Limited^ 903 Sherbrooke Street^ Perthy Ontario (Ten) I MGTI0N OICTVID^ ANITA STEWART Anita is a Brooklynite — or, rather, was. She was born there, educated at Ejfasmus High School and entered picture work at Vitagraph thru the aid of her brother-in-law, Ralph Ince. “The Wood Violet” marked her first screen success. She has been soaring ever since. Now, like her fellow Vitagrapher, Miss Talmadge, she’s a First National star.- NORMA TALMADGE We can remember when she was a r^re child ^ tha^ university of Norma is now a First National star — and everythin’. j • • j • t the screen — the Vitagraph studios. Norma grew up in Flatbush, attained film success, and joined Iriangle over. Just now she’s one of the most popular stars in America. Then Select won her GLORIA SWANSON Gloria is looked upon as a real dramatic discovery these days, so it’s only fair that fans know her complete moniker: Gloria May Josephine Swanson. She was born in Chicago, but hurried away to Porto Rico to forget and go to school. She entered pictures via the George Ade fables. After that came a strenuous Keystone period. ALMA RUBENS Alma was born in ’Frisco of French- American parents. Without stage ex- perience, she invaded the screen with Triangle in “The Half-Breed,” in which Doug Fairbanks starred. Her beauty stood out in the support of Fairbanks, Bill Hart and Otliers and she soon attained stardom in her owm name. Now her pictures are being released thru the Robcrtson-Cole Company. BILLIE RHODES Billie recently stepped from one- and two-reel comedies to stardom with the National Film Corporation of America in five- reel features. Billie’s prettiness and personality stood out thru the avalanche of custard pies. Fate smiled— and Billie’s now a full-fledged dramatic star. Center, a new portrait of Hugo Ballin; top, an ex- ample of an exterior selected by Mr. Ballin in Florida for Goldwyn's “Thais” : bottom, an in- stance of Ballin’s art iu “The Silver Star” Tfl Stud By KENFi For a year u a h a Hi member t the National I stitute of Ai| and Letters i given all of days and a gi part of his (j n i n g s to t' moving pict: industry. I perhaps ii fairer to thej d u s t r y — 1 that part o i represented J Goldwyn — 1 say that :■ cnditeen months it has bought, at a good stifif price, i tatents and labors of one of America’s leading painter ) mural decorations and designers of interiors. The artist is Hugo Ballin. , , U is taking small chances on the twenty-five hundred p:* and twenty thousand names in “Who’s Who’’ to say 11 outside William Brady, he is the only directorial force irh movies today who can find his name in the 1910-11 ed ) of that list of American notables. At that time he i already won such prizes in the world of^the fine arts as Architectural League medal and the Ihomas L. Ck Shaw and Hallgarten prizes. He had decorated the hen of many millionaires and art lovers. He was soon to 1 1 the mural decorations of the Wisconsin State capitol. 1 he had never seen a photoplay. And that was because < Alice would have said— there were no photoplays to see ; Seven years later the photoplay world could look bacB ew [t :dwai\ !l Ijnonienal record. \is a record which [Ivon this artist's jance to the new- jf the arts, and a to which Ballin I'df was to con- re notably. 'ere was art in movies before ,li. Make no mis- eabout that. For ;e was “Lasky mg" — that rich, ri glow in which r dine Farrar won rst screen laurels iarmen. There f the sumptuous liccurate detail which Wilfred Buckland contributed to ame producers. There was the marvelously dramatic lOws, muffling the massive settings, that Ince and Brvmton rpto the Triangle. And there were the splendid close-ups C iffith and Bitzer. iit it was something more revolutionary that Ballin dljht to Goldwyn. It was something that even the legiti- t theater hesitated to accept — settings with simplicit}’ tid of detail, suggestion instead of elaboration, interpre- i'.i instead of ornate confusion. Ballin brought to the tn a considerable part of that theory of the new stage- .1 which Gordon Craig had dinned unsuccessfully into :ars of English and American producers for twenty i . [ nt think that the movies accepted the thing with whoops y. Ballin had to work slowly and carefully to win his } He had to learn the limitations of the screen, and he Above the portrait of Mr. Ballin is one of his prelim- inary charts for a “Thais” setting and below is the exact setting, built in Fort Lee, from Mr. Ballin’s plan. This is the desert nunnery in “Thais” \ SevenUev ) MOTION PICTURE CLA i Riijht, Mr. Ballin at liis best in the boudoir scene of Goldwyn’s “Nearly Married’’ Center, tlie art direc- tor standing besi'de the huge “Thais” door, and. rifjht. an ex- ample of an old-fash- ioned interior set. overcrowded a ti d done in liad taste had to convince a good many people that these limitations weren'i great as they thought. Ballin began with some definite and extraordinary theories whic's has never given up and which he has made his fellow-worlcers acfd "Every emotiftn," he told one of the first Goldwyn press agents i| went to him for "copy," “can be expressed in terms of form and ol Thru the physical marshaling of objects, thru contour and balance I balance of weight, of cour.se, but art balance), thru light and sl^ and their gradations, the world’s grief and the world's laughter inai deftly and exactly expressed. Despair and hope, doubt and deci | hypocrisy and sincerity, these and other traits may be convineik .suggested by the physical surroundings of the people who are suppa to feel them.” | .\ very simi)le example of this was to be .seen in almost the s (Continued on patje 6.S) l (Eightee Maurice Tourneur in off-the-screen moment of His production, “Woman” an The screen, first to .agitate for preparedness, first to pro- test against Hun ruthlessness, first to reflect the mental reactions of the great war, is pausing to consider the future. What will be the subject of the next great photoplay? And, to be great, such a screen drama must necessarily catch the thought nearest the heart of the public — it must deal with the one subject of greatest vital interest to the world. The end of the war came so abruptly, at least to the short- sighted, that it left producers breathless, and with scores of war productions on their hands. This means after-war changes and the release of many belated trench and renamed “reconstruc- tion” pictures. These are the natural aftermath of the war’s ter- mination. The big photoplay of 1919 will not be a war picture. But it is coming. At this moment it may be only a mental germ in the brain of some unknown scenario writer or director. But it is coming. Will it deal with sonyc phase of world reconstruct um ? This is .very possible, at least in a remote sense. Will it be the problem of th6 returned soldier and his readjustment to civil {Continued on page 62) I m, David ' rk Griffith, d , right, ' 0 m a s H. I Ince Nineteen) A‘ T a time when the old world has a pen- chant for everything Ameri- can, and we of America are becoming more closely in tune with Europeans than ever be- fore, it is more interesting than ever to meet and per- chance know Marie Doro. For in Marie Doro the in- dependence and clear-think- ing qualities of the American girl are blended with the mel- lowed art and appreciative instincts belonging to the European. Marie Doro takes time to think. Therein lies her Continental understanding of art and life’s subtleties. For real art is only the expression in various fonns of the finer understanding of life, an understanding that is attained only from meditation as well as study, from leading One can imagine Marie Doro in an English garden pouring tea from rare old English china and touching it with love and reverence because of its fineness. One can picture her at Monte Carlo, her large eyes dwelling upon the beau- ties of the cerulean Mediterra- nean, unblinded nevertheless to the realities of life and poignantly aware of the world tragedies being enacted in the , Casino Sunlight on White Velvc an individual existence, instead of a mad i to keep up with the crowd. One can imagine Marie Doro in an Eng garden pouring tea from rare old English clj and touching it with love and reverence beca • of its fineness. One can imagine he^ ’--nws alone for hours, among the ..ores the Louvre, or night after night attencj: grand opera in Rome. One can picture he t Monte Carlo, her large eyes dwelling upon e beauties of the cerulean Mediterranean, blinded, nevertheless, to the realities of life poignantly aware of the world tragedies b( > enacted in the Casino. Marie Doro is to the American stage v t the Renaissance was to Rome. For some two years the artistic touch of r presence has been withheld fi*om the pul , For two short weeks last winter she did, indni; star in a stage play called “Barbara,” an idij production of gossamer fabric, indeed, j imaginative to enlist the sympathy of a le of business people, as its brief life prod, M i s Doro s one ofe few i • vidual I k n (V w h ( II one m i mag Cl h a v i f, the n 1- t a 1 ( • dura e, to St: e in a , ret ra :r' than 0 mate 1- ize 1 r art. Fo 1- n a t e she ' II neve )« put tc le c r u ( il test. Bui le did 1 pictv :s u n t i n t i 1 f s h 0 li C 0 when could ducet a s 1 con ered sy ougb be p duce( Tilt time as (Twenty, PI?' yHAZEL SIMPSON NAYLOR ome. She is to jtiake two special ()hotoplays in Eu- ope under the di- ection of Elerbert Brenon. In order to have last word with ler before sailing, I railed upon her in ler Fifth Avenue Apartment. She lerself opened the jjoor. To one long iccustomed to an dvance greeting ly the maids, but- ers or secretaries 3f screen celebri- ties, this fact alone stamped Marie Doro as a distinct individual. “How are you?” she said. “Come right in.” The words were ordinary enough, but the golden quality of her voice made one feel for the first time the beauty of that every-day greeting, ljust as Yvette Guil- jbert’s singing of a common little French chanson creates for the time being a master- piece. Miss Doro’s liv- Tng-room is a large ione which masque- i rades as medium- > sized because of its i coziness. No mat- ^ ter how often you visit her home, you i will be unable to catalog the furnishings I of her apartment. They have become ! more than chairs and davenports and baby I grand pianos. They have become a I whole, the sum of which is greater than i any of its parts, a home setting for the i Doro existence. As a friend of mine once beautifully expressed it: A study of Marie Doro and a snapshot of Miss Doro and her husband, Elliott Dexter, on their honeymoon at Palm Beach. “Do you know,” says Miss Doro, “my greatest satisfaction has come from seeing Elliott succeed” Mere desk was I, my caste was low. Heavy my heart with sorrow, Until they brushed me up to show Miss Doro. I sank into unplurabed abysses Of shame; I felt I vexed her. And yet I soon was sold to Mrs. Dexter. She saw beneath the ugly me. Now, glorified each part, I realize that, plus Marie, I’m art. (Twenty-one) (Continued on page 62) PUSHING the electric bell at 3920 Wilshire Boule-, vard, Hollywood, pro- duces much the same effect as rubbing Aladdin’s won- derful lamp, for out of the gusts of a cold December rain it ushered me into the presence of hospitality warmer than the fires which glow on every hearth in Castle MacDonald. Donald MacDonald and Mrs. Mac, who was Maudie Gifford before their mar- riage, and who played on the stage with Henry Miller, Dustin Farnum, John Mason and other splendid actor- producers, haven’t any bairns. But pets? Ah, now you’re talking, for they are so inij)ortant that a descrip- tion of the live stock comes before one may enthuse over The Den of i Modern Villai this wonderful house. F'irst, there’s : dog-star which shines high in thi firmament of animal actors. Marga rita Fisher has just finished a play ii which ‘‘Mrs. Ming” is featured, fo the Pekinese was clothed in bab' things and had to be passed off a’ Margarita’s progeny, in order to smug gle the snub-nosed and costly infan on a Pullman. “We were a little afraid to hav( Mrs. Ming with us again ; these ac tresses get so temperamental, yoi know. We’ve six more Pekinese, anc' Maudie and I didn’t know whethe: they would stand for the airs she migh put on after having supported Mis Fisher, but we were agreeably sur ' prised to find that she came right dowi to earth again. However, the othe: half dozen rather look up to Mrs Ming and seem to acknowledge he superiority,” explained Mr. Mac, witl a twinkle in his honest Scotch eyes. So the rest of the doggies troopec' in. Every one is a high-brow and ha a distinguished name, and most o them are descended from Llenrud anc were imported from old England Perhaps the ugliest and quaintest om of these brown orbed prize-win , ners is Princes Dar Ling. Then there’ the Scotch colli' without w h o II ! Donald Mac- Donald and his home in Holly- wood, one of the show places of the movie coast colony (Twenty-two) onald MacDonald and His Hollywood Castle By MARY KEANE TAYLOR Mr. MacDotiald never travels, and who exercises a dignified restraint over the emotional bow-wows who have a special recreation parlor back of the tea-honse in the MacDonald’s lovely Japanese garden. Korean grass was especially im- ported to beautify what had been a miserable adobe-soil lot. While the photograph of the garden was taken before the grass had spread, some idea of the transformation may be gained. 'I’he beauty of Korean grass is that it never needs a landscape barber and will speedily cover barren wastes and transform them into idylls of beauty. There are real lotus buds blooming in the miniature lake ; six varieties of pastel-shaded water lilies turned drip- ping faces toward the sky, and shrubs j galore shook their dainty skirts as we I stepped across to the tea-house for a survey of the garden that dreary Sat- ; urday afternoon, j W’ith a sigh of relief, born of the delicious comfort and ' warmth in the drawing- room, we settled down to , a talk of Mr. Mac- I Donald’s a c t i v- ities, while the maid trundled in the tea things and Mrs. MacDonald touched the rare o 1 d silver pieces with dainty, rever- ent fingers. Here was comfort indeed. “One feels like talking about the old days in pictures when the firelight glows and the rain patters without, dont you think so ? Somehow, to- day I am thinking so much of Harold Lockwood. You see, he and I started in pictures together ; he was earning $25 a week in stock and I was getting $30 because I worked by the day. He was such a clean, lovable chap, it's no won- der he rose to be a star, while I — well. I’ve been director and lead- ing-man. I really like to do vil- lains ; it’s so exciting to get the leading-man or star into all sorts of scrapes, far more interesting than making love — on the stage.’’ {Continued on page 71) Mr. and Mrs. Mac- Donald in their quaint Japanese garden (Twenty-three) The Nash Twins are pleasant fea- fu r e s of “ Everything,” at the Hippo- drome Florence Reed has scored a decided hit in “Roads of Destiny,” at the Republic Theater. Here is a glimpse of Miss Reed and John Miltern in a strong scene of the drama Frances Starr in a tense moment of “Tiger! Tiger!” at the B e 1 a s c o Theater (' Twenty-four) The World of the Footlights John Barrymore in his highly colored char- acterization of Fedya in Tolstoi’s “Redemp-, tion” at the Plymouth Theater Lola Fisher and Hedda_ Hop- per in Clare Kummer’s de- lightful comedy, “Be Calm, Camilla,” at the Booth Thepter (Twenty- five) CONRAD Nagel is a William A. Brady dis- covery. Brady saw him in vaudeville, playing^ in an Edgar Allan Woolf sketch, and summoned him to play Otto Kruger’s role in “The Natural Law.’’ Emergencies have always played a big part in Nagel’s existence. Right after playing in “The Natural Law’’ he was called to play William Elliott’s role of Youth in “Experience,’’ Elliott having suddenly been taken ill. Nagel was notified on Friday and, after one rehear.sal, he went on at the Saturday evening performance. It was a long and difficult role, but Nagel made a decided success. Next came roles under the Brady management wkh Mary Na.sh and Florence Nash. Finally Henry Hull, playing in “The Man Who Came Back,’’ fell ill, and Nagel had another opportunity. This hit estab- lished the lad in the astute William A.’s favor and he was given the Conrad Nagel and, right, a glimpse of Nagel as , Laurie and Florence Flinn as Amy in “Little Women” Emergency Nagel By C. BLYTHE SHERWOOD leading role (jpi)0>iie ■ Mice Brad}’ in the stage play, “Forever After.” And Nagel chalked down another hit. But the war came and the lad became restless. Finally he enlisted in the navy. While await- ing Uncle .Sam’s call, he kept on in “Forever Af- ter.” .\bout this time Brady began a screen version of Louisa M. -Mcotl’s “Little Women” and he decided upon Nagel as an ideal choice for Laurie. “But,” Conrad smiled back at me from the mirror in his dressing- room at the Central Theater, “I didn’t feel as tho 1 ought to accept his kind ofifer. My sum- mons to leave for camp might come any day, and then the result would have been one glorious inconvenience for all concerned. That is, I thought so. But noth- ing like that hajtpened, because, after Mr. Brady’s ( Continued on page 80L (Twenty six) 4nevieve Rutherford Hale, farmerette, J stood in front of the mirror in the de- serted dormitory conscientiously pow- ;rig her nose. The mirror was a dilapidated f;ir with a permanent wave in its surface lih gave that small, saucy feature even o; of a tip-tilted aspect than nature had tiided and did other ill-natured things lie pretty face reflected therein. '^^iru the eastern window, uncurtained \i for a torn green shade, the morning right streamed in a white-hot glare, \ialing all the ugliness of the bare i(|i with its wooden bunks and yellow r' furniture. In spite of her brave and iliotic resolves, Genevieve sighed, re- elbering the shaded gray-and-ivory room lome with its leisurely breakfast tray ii!the tiny white-tiled bathroom beyond. I dont believe,” she reflected ruefully, fit I ever knew what seven o’clock in the ning looked like before. there, I oughtn’t to com- n. The boys in the trenches bably aren’t allowed to lie in bed late, either.” the put the puff back into the tiny gold vanity case tl^at jig on a chain about her neck, pulled the red gold fluff of Is a trifle farther on her cheeks and di-ew a marvelous ji-o’-shanter of sun-colored satin jauntily over her fore- d. The tam matched the old gold smock embroidered with iioe and shovel in jade-green and dull-blue worsted, the i)ck matched the trimly tailored breeches. Thus attired, lievieve Rutherford Hale looked precisely like the soubrette i musical-comedy chorus about to sing a rustic ditty anent I old home farm. jTe other farmerettes, completely unsexed in blue denim rails and broad-brimmed straw hats, stared truculently at late comer as she slipped into the line drawn up under the r scrutiny of Hiram Hubbard. She must have found that milking costume in Vogue,” ispered the sallow girl with the wispy drab hair in disgust, Her the heading ‘What the Well-Dressed Fifth Avenue rmer Will Wear the Coming Season.’ Did you ever see [thing so silly?” One of those society girls who are making a fad of the [!” returned her neighbor, a big, raw-boned woman, with itter, school-teacher mouth. “She wont last the day out — i see!” warmer Hubbard surveyed Genevieve speechlessly. The only words that he could have used at the moment were not for the ears of farmerettes to hear. Then, cryptically, he addressed the expectant line. “Sherman,” he growled, “was right about war.” His tones sounded the deeps of gloom. “Do any of you know how to milk?” “A cow?” piped Genevieve, helpfully, into the uneasy silence. Mr. Hubbard’s heavy jaw fell. He manifestly struggled with unholy yearnings, but his reply was soft and gentle. “Oh, no, no; of course not. We milk the chickens on this here farm.” A titter traveled down the line, to which Genevieve added her clear treble. She did not suspect that she was being ridi- culed. One by one the others were apportioned to different tasks until only she and the tall school-teacher of uncertain years remained. “I’m leaving the jjoultry in your charge. Miss Bicknell.” The farmer glanced at the little gold silk figure beside her with manifest disgust. “All o’ the chickens ! Do you get me ?” “I understand perfectly,” Bertha Bicknell nodded. She turned to Genevieve with wry lips. “The hen-house must be cleaned out before lunch. Perhaps you have something a trifle more — more suitable to put on?” “Not a thing,” Genevieve laughed, as they walked toward the outbuildings. “You see, I wanted to do something to help my country, but I just made up my mind that I wouldn’t farm unbecomingly ! Madame Louise made the costumes from my own designs. I couldn’t find a thing like them in any of the shops.” Little Comrade Storyized by Dorothy Donnell ( Twenty-seven ) MOTION PICTe “The hen-house must be cleaned out before lunch,” said . Bertha.^ “Perhaps you have; something a trifle more — more ' suitable to put on?” They had reached the poultry houses. Bertha thrust a hoe into her companion’s hands and pointed to the low doorway. Her eyes, as they rested on the absurd little figure, were hard and pitiless. “Give it a thoro cleaning, walls and floor,’’ she directed, briefly. “I am going to mix the whitewash out here.’’ Humming a blithe little tune, Genevieve disappeared, leaving her mentor smiling grimly as she began to stir a pail of slaked lime. When, a few moments later, the song abruptly died, she laughed aloud. “She’ll be in time for the afternoon train!” she muttered, vindictively. In precisely fifteen minutes a small, goldy figure wabbled forth from the dark interior of the hen-hou.se and sank gasping and pale of lips upon a nearby wheelbarrow. "Oh,” moaned Genevieve, “oh, it isn’t — exactly pleasant being a farmerette, is it?” She swallowed hard, blinking back the tears. “I know I oughtn’t to mind — smells and things, when the boys in the trenches have to stand even worse, and the folks .s-said I w-wouldn’t stick it out ” Bertha Bicknell .splashed her paddle thru the white- wash with an audible sniff. “Are you the youngest in iut family?” she snapped. Genevieve nodded, while a fat teoof home.sickness zig-zagged thru the i)owder and dripped iM lornly from the peak of her small chin. “I thought so.” Swish ! Swish I went the whitex^jh. “You can always tell a Benjamin the first thing!” “A — a Benjamin ?” faltered Genevieve. •“Didn’t you ever read your Bible?” asked Bertha, ccly. “Benjamin was the youngest of twelve brothers, so ey coddled him and spoiled him and did all the hard job or him. Being the youngest” — the brush swe])t across the ite leaving a glistening trail — “being the youngest is an incu )le di.sease.” .Silence, while the gate became a dazzling white ancilie brush attacked a neicy chicken-coop of aged ap]ir- ance. Then shakily, but jtli a forlorn assumption of ifi" age, the small smocked nd embroidered figure picke it- self up from the wheelba ow and marched silently thn:lie low, dark doorway. Boiha Bicknell stared after her llitl' a curious softening of!|ief har,sh expression. “I luif der !” she mused. !j Luncheon was served i kr the grape-arbor to a chatting accompaniment of tonjj^es zestfully relating the mofr g’s ( Twenty -eighi fU “LITTLE COMRADE” Storyized by permission from the scenario of Alice Eyton, based on Juliet Wilbor Tompkins’ story, “The Two Benjamins.” Produced by Paramount, starring Vivian Martin. Directed by Chester Withey. The cast : Genevieve Rutherford Hale Bobbie Hubbard Mrs. Hubbard. Mr. Hubbard... Lieut. Richard Hubbard... Isabel Hale Bertha Bicknell .ASSIC iumphs. One farmerette alone was jnspicuously missing. “She’s probably designing a corn- oeing negligee!” tittered the thin girl ith the spatter of freckles. The man- ish one beside her nodded a bobbed ead vigorously. “The sooner she beats it, the better!” le announced. “She’s making a laugh- ig-stock of all of us! Suppose a re- orter from a. Sunday supplement lould catch sight of those Ziegfeld ;gs!” Prone on her face in the grass at this loment the possessor of the very orna- lental legs lay weeping, steadily but ilently, amid the shattered fragments of er dream. But when a motherly hand ouched her shoulder, she lifted her wollen face with a gallant failure at a jmile. “I’m not — not crying!” she denied, Shakily, “only, you see, I never knew jefore how hard it was to be a Ben- amin !” Mrs. Hubbard Was wide and sweet- aced and motherly. She sat down lumply on a nearby tree-stump and moothed the bright tangle of curls back rom the girl’s forehead. “Suppose you i;ell ma all about it, dearie,” she sug- !;ested comfortably. 1 So Genevieve Rutherford Hale poured lut all the disillusion of the morning .nd the new-found and disquieting heory of the “youngest of the family,”- Ivinding up by clenching her little fists 'aliantly. “But I’m not going to be a lacker! If cleaning smelly hen-houses vill help win the war. I’ll clean them if t kills me — it ’most did this morning, 00. And, if being the youngest is a iisease. I’ll get cured ” j “Land, dearie, every family has got to |iave a youngest !” Mrs. Hubbard smiled nistily. “I suppose my Bobbie is a Benjamin, too, when it comes to that. The older boys always made much of lim, and I guess I spoiled him — he was uiy baby, bless him !” A sigh trod on the heels of the smile. Genevieve looked up at her sympa- thetically. “Did he want to go to fight ?” The plump face took on anxious creases. “Well, no, he didn’t, not ex- actly,” Bobbie’s mother said. “He hated the notion of killing people. He’s got the tenderest heart in the world, Bobbie has, but he’s got grit too. Don’t you fret about being a Benjamin, child; you and Bobbie are going to show folks it’s a name to be proud of.” It was a refreshed and dainty Gene- vieve that strolled out of the big house late that afternoon, with glowing cheeks and crisp curls peeping under the droop- ing tam-o’-shanter. The three dishev- eled farmerettes limping up the path from the cornfield stopped short in their tracks and glared at her speechless. “I feel so much better,” Genevieve told them, sweetly. “I’ve had a nice ‘Tlow long, Miss,” growled the farm- er, “has my son Bobbie been writ- ing to yon?” (Twenty-nine) MOTION PICTL'RE CLAS: so homely, it makes a person’s eyes ache to look at yon !” nap and a hot bath, and now' isn't there something I can do?” Por a taut instant there was actual violence in the air, then farmerettes glanced at each other. The hoeing ought to he finished tonight,” remarked one softly, and ‘‘It’s going to he!” Rertha>ficknell answered’ significantly. Late that evening a stealthy figure moving along the hiJell, for heaven's sake, dont answer the bell under the most itraordinary circumstances. Steve, if you lounge in the jndows, it's all off. Verdi, nix on the chromatic scale, iu're in Chicago. George and Nell. Dont get back till you !t the high sign.” Steve broke in inelegantli . “We got our cues all right, all gilt. Nan,” he said; “what's your stuff?” iNau eyed him keenly, then smiled. “My stuff is to help yself to the famous Palmer pearls, if I'm not much mis- tjcen," she said, "and when 1 get them you are to be on tap ' th a ciir and whisk us all away. The very same night we set sail for South America. We wont dare to market the jewels up here. Down there — well, crooks are getting richer ever)’ day. Now I'm off — keep your minds glued and sit tight.” "Good luck. Nan!” "No soft stuff. Nan." said .Steve. “One can always — come back,” Tom whispered huskih. "One cannot always — love. If love comes, Ruth, who are you to turn awav from it?" Tom Palmer surveyed the living-room anxiously. He turned sharply to Mrs. Palmer. “Everything O. K.?” he asked. "No Police Gazettes about here, you know. Miss Brockton will hardly care for that form of literary enjoyment." Grace Palmer laughed, not very pleasantly. “I must say, Tom,” .she observed, "that if you were not so damn silly about what Miss Brockton would or wouldn’t like, we might finish u]) this job and pull stakes. You knowg Ferriss is onto us hot and heavy. It’ll mean twenty yeal■^ for us if we slip up.” Tom Palmer ran his hand over his suddenly sweated brow. "Aint your guts in it, Tom?" asked the “butler,” Phil, gruffly. "Never mind what’s in it, Phil," Tom laughed and shrugged his slim, groomed shoulders; "I’m going thru with it,” he added. “Tonight — she’ll be here — the old folks will be away — the coast clear. We’ve planned for this night. Well, it’s come. It's up to me to see you fellow's thru — I’m going to do it.” He gave a short, sharp laugh. “Honor a m o n g thieves,’’ he added. When Ruth Brockton came in Tom met her. "We’re just having tea,” he said ; then, lower, “Oh, Ruth, to see you here — in my house Ruth, I never knew one girl could mean so much to me — coukl color all the world — give me new eyes, new ears, a new' heart— — Ruth was iti the corner, a pistol in her hand Ruth h i m. heart ?” mured. looked at “A n fe w. she mur- t h e n she laughed lightly, MOTION PICTURE CLA: I |C1 I ather loudly. \ou must show me your famous pearls," she said. ou know, I am something of a gem fancier. I sup- pose you have them cleverly concealed." Tom Palmer led her into the living-room and pointed to a panel m the wall. “Rather cleverly," he said. “You'd never take that to be an electrically charged .safe, now* would vou? ' Ruth opened her eyes. "Charged she asked ch'ildishlv, “to — to kill, you mean?'" "Well, ra-ther!" Ruth laughed. How — how ver\ clever ! ' she said, banall\ . Then she turned to Grace. "I have a hobbv," she declared sitting down by her. "I want to build a house of mv ver\ o\\ n and 1 m keen on architecture. W ill vou give me a sort of a plan of your home T think it is delightful, especiallv the ground door. Oh . . . ' She held nut her Iwinrl for the casc was showing her. "How perfectly marvelous I om wondei, Mrs. Palmer, that }ou have electrically charged safes to guard these deep-sea wonders. 'Phev are m'iracles." Mrs. P’almer smiled. "MY were in the habit,” she .said, "of keeping them in the safe in town, but it made it so annoying to run in for them if we suddenh had to have them, so Tom here devised this." T o m put the pearls in and shut the safe door. “1 devised t h e g a r d e n s. too," he said, “and 1 want to show Miss Prockton my skill as a lands caper. Pardon us. mother." Tn the gar- el e n 1 o m 1’ a 1 m e r dropped h i s d e b o n a i r manner. He took Ruth's h a n d s and drew her to him till she c o u 1 d feel t h e mighty thumping of his heart. "1 had to get you out here, R u t h," he .said : "I h a d to s p e a k to * you -To put this to the test. I -I love you, dear. I want .vou to go away with me to leave all this behind — all these people behind. I want to be alone with you — in a world — alone " Ruth drew in her breath, .‘^he closed her eyes to shut in the picture he painted. I he sweetness it portended pervaded her. and her mouth trembled with a foretaste of over-bliss. Then she shook her head. "These people ..." she repeated after him, "our mothers--and fathers — our— our — work. Tom, not now, not so soon " One can alwavs work, lorn whispered huskilv; “one can always come back. One cannot always— love, if love comes— ■ Ruth, who are you to turn away from it?" Brockton home, lie had the famous Brockton diamonds at against his breast. Presently he would be back with the gaV- he could divide the sjioils, and the job he had grown to lo.-^ wmuld be completed m so far as he was concerned Hcfr among thieves— well, he had preserved his. ft was the dv kind of honor he ever had preserved, but perhaps it was beh than none at all. He would go away now — down to Sc|h America where men's deeds were lulled to a narcotic slum r. Yes, he would sleep, he would dream — and forget. Foro^et past, foi get Ruth : most of all. he would forget I'luth. was in his blood as once the lust of stones had been. Tie wc eject her. put her forth. He cros.'^ed the room cautiously. Phil would be waiting v ihe ccii . (jihcc and the Palmers w'ould be down road. In the morning they would be on their way— to So .-Vmerica. Ruth would awaken in an empty house. It wo bruise her-- but she was not the kind to crumple. She wo come thru. He was sure of that. He ^ Miands up! said a professional voice. Tom whee ‘ The coppers!" he groaned, and his lips whitened and tautei Game s up, he admitted and thing up his arms, X ot f 0 .A.fter they were handcuffed, Ruth turned to the officers. "Will you leave me alone with him,” she asked, “just for a little while?” lull min did he ta f :ognizance the screa behind hin realize th Mr. and ^ I ’> r o c Ic t were also the r o 0 hands fl u high, nor t Ruth was the corner pistol in h hand. .\fter tl were hai cufifed, Ru turned to officers. "Will y leave alone w him,” s asked, "j ii for a 1 i 1 1 while ?" Tom turn to her. P face was white as “W- w h does t h T m-mean?" he stammered, "not — not you, too?” ; Ruth nodded, but her eyes were starry with tears. "T'j gangs of thieves, Tom," she said, "one gang preving upon tl other. You— and I " . n ■ Pom bent toward her. "Pardners," he muttered, “pa X^ow — we'll join — we'll put it together — we'll— — " Ruth shook her head slowly. "That isn’t what I wai 'Pommy,” she M-hispered: "to go — straight — hereafter " Ruth pulled her hands away from his too insistent clasp. She shut her eyes again, this time because what she saw smote her with premonitory jiain. now — dear." cant, Tom.'’ she said: “not At midnight he set forth of that to do. fie had night 'Pom I’almer had finished what made a skillfull entry into the .At the National Detective Agency the day following t Brocktons, Steve Wilson. N'erdi and the Palmers awaited t ultimatum. Steve was aggressively ugly. "You gentlem Raffles," he spat forth contemptuously, “oughtcr get wlia coinin’ to you. Go about things honest and no harm'll coi to you. I told you Nan wvasn't going thru for us ! I told yi she was stool-pigeonin , or double-crossin', or something' o’ t kind. Where's she now, that's wot I want to know?" Tom IMImer spoke up. rather wearily. "Cletting the thi ( Conliiiucd on page 67) (Forty-two) Zm This Be Mary? Can you believe that the avoir- dupois-esque young woman with Bryant Washburn is our own Mary Thurman? When you re- cover from the shock you can reassure yourself by glancing at the recent portrait of Mary, just above, and at the almost-as-recent flash of Mary at Mack Sennett’s studios. Mary is sacrificing everything for Art these days. She has de- serted the Sennett sea-going forces and is pursuing the drama relent- lessly. In “The Poor Boob,” with Mr. Washburn, she plays the hor- rible victim of candy. How does Mary a p p e ajr so — er — rotund ? Gosh, we give it up! But — who, oh, why? — pick on Mary for this sort of role? (Forty-three) The photoplay has come out ot its lethargy with a smash ! We doubt if the silverscreen drama has had a more interesting month in a long time. One thing at least is certain. Never have the studios revealed acting of such a high histrionic excellence within a similar period — acting \yhich, in at least two or three instances — touched a splendid height. In the long, crowded gallery of screen characterizations is there anything finer than Charles Ray’s genre study of small-town youth in “String Beans”? Or anything bigger than Elliott Dexter’s sen- sitive, finely limned portrayal of Jim Wynnegate, victim of a primi- tive mesalliance, in “The Squaw Man”? Or, again, Conway Tearle’s vigorous and dominating Andrew Forrester in Owen John- son’s hothouse drama, “Virtuous Wives”? Let us first of all consider Mr. Dexter and “The Squaw Man,” (Artcraft), because acting isn’t the only vital thing about this re- vival of Edwin Milton Royle’s effective melodrama. For “The Squaw Man” marks another foi'- ward step on the part of the steadily advancing Cecil De Mille. The producer has hit an exact dividing line between the theat- rically effective and the humanly true in his re-screening of this melodrama. “The Squaw Man,” you know, is the story of a young Englishman who takes the' blame of an embezzling brotlier. Jim Wynne- gate does it because he secretly loves his brother’s wife and because he wants to protect her. Wynnegate comes to America and, because his perspective is distorted by the loneliness and emptiness of his life, mar- ries an Indian girl who has befriended him and who is tyranniz^ over by a drunken, dissolute redskin father. A boy is born, when the English girl, now a widow, comes from across the seas with his vindication and news that he now has succeeded to title and lands. Altho he feels Ae, call of the old life in every fibre, he resolves to live his mistake. He does however, decide to send his boy back to England to be educated. Then it is that the Indian wife, instinctively realizing things, creeps to the child’s play-yard and ends her life with a bullet. De Mille has told his story with straightforward, certain strokes. His handling of the Indian wife’s suicide is a master bit of sug- gestion. For once, a director shows faith in his audience’s imagination. The Celluloid Cr The screen has offered few things bigger than Elliott Dexter’s sensi- tive, finely limned por- trayal in “The Squaw Man” De Mille never loses sight of his drama futile close-ups, flashes of animals and the usv screen clap-trap. On the other hand, there a scores of human bits of byplay to build up t characters and aid the atmosphere. And let congratulate De Mille for one other thing, t glimpses of British upper-class society have d tinction and good breeding. All of which almost mal us lose sight of Dext Here is an actor who, o side of being physically ; fective, always seem' heavy and unresponsi' That is, until a few mon ago. Suddenly he appears have awakened, and his J Wynnegate is splendidly 1 man — a remarkable study a man who, torn by pity i sexual loneliness, slips i a terrible mistake and v refuses to fight fate. “The Squaw Man” what we w-ould term ideal cast. Ann Little’s piction of the Indian g Naturich, is admirable- complete sinking of an^ tress’ identity in a role, beautiful Katherine W Donald is every inch well-bred British girl, T1 dore Roberts is excellen Wynnegate’s ranch fi man. Bill Bill, Jack Ho) an effectively villainoui un-Western Cash Hawk and so right thru even minor roles. Mr. De ^ is to be congi'atulated. | Since Maurice Tourneur turned her ve- hicles into pic- ture poems, Elsie Ferguson hasn’t filmed so beautifully a s in “Under the Greenwood Tree” (Forty-fc By FREDERICK JAMES SMITH ‘‘Branding tops all thru “Vir- Broadway”_ is tuous Wives.” Per- reason William Hart Conway Tearle’s photoplay of vigorous portrayal many months of the business man far overshadows Miss Stewart’s play- , . . ingofthewife. Yet, in truth, the .star did not register with any of her old vividness. At mo- ments she is even amateurish. The late Edwin Arden’s handling of the middle- aged husband of a butterfly wife is excel- lent and Mrs. De Wolfe Hopper as the wife, herself past mistress of playing with fire, is effective. the art of But in ‘‘Virtuous Wives” Tucker has staged one vibrant scene, the moment where the elderly Wall Street magnate’s little son hovers between life and death. Here Virtuous Wives” flashed fire. Rumors from the coast led us to extiect mighty things of David Wark Griffith’s fifth picture in five years, “The Greatest thing in Life.” Here is the story of a girls quest for the greatest thing in life and of the regeneration, thru war and ^ young American snob. But ffith s latest drama presents nothing There is the ingenue in desperate ttermg her door down, an American divi- ' dashing to the rescue, the inevitable .nch alhed lines hidden in a basement, and .eps above the conventional. There is the American heroine thinks she has found her renchman, until she discovers that he knows r, written by his own countryman, Rostand /lusionment comes when she finds that, even upon ,.Ken is only a chicken” to him. The other big /widely discussed Here the American hero and ;k refuge in a shell hole. A bullet mortally wounds .C’ who falls into the white lad’s arms. Dying in de- Then it is that the dying man and presses & extreme daring ■ Griffith IS atomng for his handling of the arth of a ^Nation. Be that as it may ur disappointment in “The Greatest Thing in Life” ' {Conftnued on page 76) :id now for Charlie Ray and “String Beans,” (Paramount), i drama, Julien Josephson’s story is just a little above the age. In the matter of direction, “String Beans” may be larly described. But Ray’s playing of Toby Watkins :s mighty near Booth Tarkington s callow Sylvanus Bax- is a study in adolescence. Ray is sincere, direct, unutter- even relentlessly, human. Toby is a .sort of handy boy i little village newspaper. How he loses his bashful t to the mayor’s pretty daughter, reconciles his boss with bitter enemy, the mayor, and foils the attempt of an rupulous scoundrel to victimize the with a fake string bean cannery s the basis of the story, vitalized life by Ray’s playing. And the star We confess our ixcellent assistance from the direct disappointment sympathetic Jane Novak. in “The Great- J must admit that we looked for- est Thing in the to Anita Stewart’s return to the World,” with ri m "Virtuous Wives,” (First Lillian Gish and inal), with more than usual inter- , Bobbie Harron And our impres- were far from we expected. B’cr (laying of Conway e and, in a lesser of Edwin Arden, sted us vastly more t h at of Miss irt. rtuous Wives” be- to the Cosmopoli- chool of orchida- fiction. It is the of a young man, buries himself in !ss in the quest of and position, and ife, who flirts her thru the passing Thanks to the nations of another ir more unscrupu- virtuous wife,” the The Greeley Expeditici to the Zoo Evelyn Greeley snatched a few hours away from the World Film studio to visit the Bronx zoo. But Evelyn had the fore- sight to take along her newest furs, some peanuts and a camera-man Reading left to right : deer, Evelyn A little dog along just h was snappe' is, right star. J'' eve’" ; How they follow Evelyn around! What ? They’re some of her deer fans! Go to the foot of the class I ierbert Brenon, Fresh from Flanders Fields, Believes the American Photoplay Is at a Standstill By CHARLES JAMESON 'he Stagnation of the Screen ST what are the thoughts of a motion picture lirector upon his return tQ America after ten nonths in war-swept Europe, many of them it in the front lines of Flanders fields? Since ■bert Brenon went thru this experience “over •e,” his mental reactions will be of decided rest. irst, after some ten days studying the ation in the American production Id, Brenon expressed himself as ized at tlie absolute stagnation.' iislike to pose as an alarni- declares Brenon, grimly, t the situation is critical, brican makers of film ma are suffering n overconfidence, to frank. Before war, France. Italv England were ily engaged in ing motion pic- s. There was stiff petition. America fht its way to the fore- it of the screen art by r merit. Then the war )t Italy, France and England 1 even a slender measure of coin- ion. American producers paused breath. They had the world iselves. And the photoplay has been nating ever since. /Ve mu.st have competition,” con- ed Brenon. “It is vital to the very , of the photoplay. When a man breaks records in a foot race, he does it in competition with other athletes. If he ran alone, he would probably finish many seconds behind his other record. It’s the same way in the making of pictures. Some one else must be making them, too. Just now the whole art is menaced. “I look to England to be the real competitor of America — and I hope the competition will come as soon as possible. I know the first question raised in opposition. It is only the statement that the climate is against picture- making in the British Isles. But let us be fair. We do not take all our Eastern motion pictures in New York, or within a few miles of New York. We send companies to Louisi- ana, into the Carolina mountains, to Canada for the right sort of exteriors. When it snows in New York, we send a cast to Florida to get summer scenes. It is just as cheap or cheaper, and just as quick or quicker, to shoot a com- pany across the channel to beautiful southern France, to the Alps, to Rome, to Monte Carlo, into the very Sahara Desert itself. And consider the results ! “English photoplays are weak things now, because it is financially impos- sible to spend more than $10,000 upon a production and get your money back. There is no American demand and the sales are wholly confined to the British Isles. But let English producers put $50,000 and more into film plays, and your American producer would have genuine competition. I am pleading for encouragement to British makers of pic- tures, for the art cannot survive without competition.” Brenon returned from abroad with his viewpoint broad- ened and quickened by the war. “I want you to a.sk me who is the greatest genius in the motion picture business,” he said, with a smile. “Then I shall ansvver, Charlie Chaplin ! Not only is he a great actor — a really great actor with mo- ments of genius — but he is a great director, a man of infi- nite imagination and ability. I believe the day will come {Continued on page 84) on and two glimpses of him amid the ruined northern towns of France .'Porty-aeven ) Caught in Dressin Room No. 10 I HAVE always been afraid of Harry Morey. I have seen him “treat ’em rough” in so ma Vitagraph pictures that I have wondered what t fate of an interviewer would be who dared to ask t big fellow to talk about himself. So far as getting him to talk about himself goes, i visit with Mr. Morey was a failure. It simply cant done. Morey will talk about pictures until the 1; man drops, but you cant get much out of him abo Morey. The facts about Mr. Morey that I did gather wt picked up from his associates at the Vitagraph stud Morey has been with Vitagraph since 1^9, when left the stage for motion picture work. Vitagra folks, therefore, know Mr. Morey as well as th know their own families. Morey got his start with Vitagraph almost years ago, because he was the first man-sh policeman ever put into a motion picture. A p ture in those days was not complete without policeman, but the role of movie cop was ab( the smallest thing in the business so far as requirements were concerned, and almost withe exception these small parts were played by n of small physique. One day Morey played ' part of a policeman, and he was such an arti; success (judged by the motion picture standa of 1909) that three stories centering around character of a policeman were immediat written for the first full-sized cop that screen boasted. It was but a step, then, fr, the role of guardian of the peace to distur of the peace. Morey played heavies fo long time and then, by sheer merit of work, developed into full-fledged star lea I found Mr. Morey in that nook at . Vitagraph studio in Brooklyn where is always to be found in his spare i ments. They told me at the office that if Morey not working in his set, I would find him in No Being a rank outsider, I did not realize that No. was one of the Holy of Holies in the big Vitagr; plant. So after many wanderings and turnings directions, I came to a door marked No. 10 knocked. Yes, it was Morey’s dressing-room, but whe opened the door, my first impression was that I stumbled into a police station on a busy day. S an assortment of rogues and hoboes crowded into room it had never been my privilege to unearth, .as usual, it was only the gang — in make-up — hanj out in No. 10. When thfe gang realized that si one wanted to pay a -purely personal visit to Mo they disappeared, and I found myself alone \ Harry of the Mighty Right. “The gang cant seem to get used to the dressing-room, now that it s all dolled up, Morey. “The company has just fitted it up for like a regular place, but sc how I dont feel at home.” “It looks as tho it ough satisfy the most exacting highly strung temperament said, as I gazed around appj ingly. “Temperament hell !” s Morey. “I have been her No. 10 ever since I cami Dressing-room No. 10 is one of the Holy of Holies at the big Vitagraph plant. They call it the club-room, since it’s the hang- out of the whole rrowd (Forty-eighty turn itagraph, and I wouldn’t have let them change it a bit if ii asn’t that there was not a thing left in the room that could '> used with safety. ; “Yes, sir,” said the big fellow, as he surveyed his quar^ irs with regret, “if I could let this old room do the j Iking for me, you would get a yarn that would make j)ur eyes pop out. “They used to call this the Vitagraph Club Room. I was the hang-out for the whole crowd. We id an old card-table here in the middle of the qm, and the bunch came after hours and I ted as tho they lived here. It was everybody’s ime, and the other fellows went on the theory at their own dressing-rooms were only to |,ng their hats in. No. 10 was where they ed. The directors used to come in whenever ey got lonesome in their own rooms and, dging from the attendance, I guess direc- |rs are about the lonesomest fellows on rth. “But I guess I am getting swell now, like the rest of the picture people. I have my jessing-room all to myself. Earle Williams d I used to share this room together, |d at different times Jim Lackaye, Glad- n James, Leo Delaney and Bill Dunn ared it with me. “The old room sure could tell some yara’ ’ ■M- several times to conversation around toward Morey him- self, but he fought shy of it. Finally, he capitulated with, “I smoke and I drink. In fact, I have all of life’s vices in moderation. Seven days make a week for me the same as for any- body else. I make my living by acting before the motion picture camera. Hundreds of other people are doing the same thing, so why pick on me? ^ “That’s one trouble, as I see it, that we have got to guard against in motion picture work. If I put Harry Morey into everything that I do, I wont get very far, will I ? That is why character leads ap- peal to me so much more strongly than the usual ■ type of fancy, heroes, who do not exist in real life. “Here’s what I mean. Sup- pose an actor develops certain peculiarities or characteristics that absolutely identify him thru any kind of a make-up; in other words, he is always himself. No .'matter what play you see him in, then, you do not see the character that he is por- Dressing-room glimpses of Morey, who got his screen start ten years ago because he was the first man- . sized policeman ever put into a motion picture traying, but you see the man who is acting the part. That’s all wrong, to- my way of {Continued on page 71) By HAROLD BENNETT (Forty-nine) 0 Evans HAD never thought of her as the mysterious Miss Clayton. From the time I first saw her in a melo- dramatic picture to the time I first saw her, in person, at the Lasky studio I had thought of her as of the direct, full-of-the-joy-of-life sort ; intellectual, undoubtedly, for to this her skilful work — work which could not be entirely due to her director — bore witness, but not tempera- mental and, certainly, not at all mysterious. Boisterous laughter led me to her, one afternoon, while she was making a scene for “Maggie Pepper,” soon after she came to the Pacific Coast. Wandering around the big stage, looking for “copy,” the laugh- ter guided me to the set, and I came upon her quietly w'aiting while Director Chester Withey was straining to get some dramatic action out of a cat. The “set” w^as a tenement-house kitchen, the unvarnished table set for a meal having the inevitable accessories, such as gas-plate, cheap chairs, sink with dishpan underneath and cupboard above, that belong to the life of the “woiking goil,” and there, too, was the “woiking goil’ herself, in the person of Ethel Clayton, impersonating the heroine. I gathered that the action was to show Maggie Pepper in the act of catching a thief. She is getting something out of the cupboard and, hearing a noise, turns and discovers the kitten wdth his head caught in ; the cream-pitcher. She has to break the pitcher in order to free the culprit. The laughter which had drawn me to the set was due to the failure of the cat to play according to script. Tempting morsels drew his head into the pitcher, but he would get away with them altogether Ethel Clayton started in the chorus at the La Salle in Chicago. Then Miss Clayton sought out New York because she wanted to become a real actress. Finally she wetit to pictures with the old Lubin Company (FiftH) TheMysteriol Miss Claytoi too fast for Miss Clayton and the; camera. Every one around was getting a lot of fun out of this contest be-j tween cat and director except th< star. She gave no sign either oi amusement or of impatience over th( time-wasting futility of many efforts i repeating on the scene with the autoj matic efficiency of a perfect piece oi mefihanism. I was irresistibly re' minded of a story about a mystk who could safely trust his bodih shell to go thru its accustomed row' tine wffiile he himself left it and wen’ elsewhere, for there was no indica'^ tion of slighting of work on the pa: of Miss Clayton. On the contrary] You get an odd im- pression of detach- ment while watching Miss Clayton work. It irresistibly reminds one of the Eastern mystics, who leave their bodily shells to wander into far lands she 'opened it just wide enough to slam it in Opportunity’s face, but patient, importunate Opportunity re- fused to be denied and kept ofi knock- ing until — for in her case Oppy came disguised as a male — she indififerently permitted fame and fortune to enter her door. I found her busy with her company . . in the making of a scene for “Private Pettigrew’s Girl.” She handled the interview in the same impersonal, efficient way she does her work. We sat on the edge of the set, where we could see everything without being disturbed. “This must remind you of your own days as a chorus-girl,” I remarked. She nodded assent, and as I dug a little deeper into those chorus days I learnt that she did not seek an engagement, but that the La Salle chorus director found her m the Ziegfeld Music College in Chicago. “I did not take the work seriously,” she said. “If I did not feel like going on, or wanted to go to a party, I would get one of the girls from the school to sub for me. I did not permit the work to interfere with things I wanted to do.” This chorus work, however, had sufficient influence upon her to result in a determination to go to New York. “I felt,” she explained, “that if I was going to be an actress, I wanted {Continued on page 62) By ELIZABETH PELTRET there was a marvelous quickness in ;he way she caught the director’s i^ery shade of meaning. The start- ling effect that I got was the contrast between the lifelikeness of the screen reproduction and the impression of idetachment you got while watching ner at work. y Therefore when, several months [Afterward, I was asked to interview [Ethel Clayton, I made the appoint- f -nent with the zest of a pioneer about ;o start on a journey into a strange md unexplored country, and in this case my reward was greater than anticipated, for Ethel Clayton is in- deed in a class by herself. In a world khere thousands of Ijirls fight, in vain, tor histrionic lionors, she, jn seeking ^ ihem, has Iiad them 'thrust upon her. She |ias made a iTiock of tlie famous ooem, “Op- portunity.” Bhe has done more than iieglect to bpen h^r door |;o tjrfe knock of that for- tune-bearer. On several occasions • (Fifty-one) For the past fifty- seven years I have been laboring under the delusion that, had I been per- mitted to land on terra firma in the guise of a boy, my girlish laughter would have rung down the ages in one glad sweet gurgle of delight. Now, after two days’ incarceration in the habiliments of a man, I feel thankful that I am a girl, I do. I have added a new member to the list of those studios in which “Welcome” threatens to break thru the doormat without further notice. It’s the Famous Players- Lasky-Paramount and everything. For months I knocked timidly at its stately portal, but no one ever seemed to hear, until one evening John Emerson, the director de luxe — why not directors as well as steamship suites and sardines? — bent his kindly ear and, lo ! I became a Famous Player. You’ve all heard of Anita Loos, the lady who thinks up bright — and, yes, original — ideas for Director Emerson to put upon the screen. Well this time she looked into the future and figured out what might happen if the war went on indefinitely and women continued to show the world that woman’s place is not always in the home any more than man’s place is always — or even half the time — in the office. Therefore the mas- culine attire in which C. E. G. disported for two days. If we were to run everything, from the soda fountains to the trolley cars, we Director John Emr erson tjJces Au- thoress Anita Loos out of the safe at 9 A. M. The Extra Gi Anita and Jot had to have proper running togs, am what could be sweeter than a check suit a vest of some nondescript pattern, : collar that threatened at every turn o the head to dislodge that famous thin from the end right eyelash of mine, : brown silk tie, a brown Fedora hat, and yes, puttees. I1 Our first appearance was at a politica meeting, where Ida Fitzhugh, as Auron Noyes, was explaining just why sh should be the town’s next Mayor. W< agreed heartily with the statemen that we had been downtroddfii long enough, that we shoulc! now assume our rightfu "•laces, etc. More enthusias tically still did we ap plaud the promise o Alec, the town tailor to give us trousers fo: $9.99. (You see Alec’s business ha( decreased until ever the minus sign wa: lost in the shuffl( when ninety-nim per cent, of the fight ing male populatioi of Freemont — Alei himself making th( missing per cent.— had . followed tb colors.) Out w a r d 1 y w • were men John uphold! the honor of ■] profession, as v as Ernest Tru Miss Loos a Louise HuflE I fFiftv-two) An Emerson-Loos Comedy in the Making By ETHEL ROSEMON inwardly our souls still hugged to themselves the wonderful love of an 'fearly Monday morning bargain. i But, of course, Aurora had a rival candidate, young Ernest Truex 1 Abraham Lincoln Jones, who was home from France on sick leave 'knd whom the little band of Civil War veterans, known as the Coots, .piling to as their last hope of rescue from the tyrannical domination of [[the womenfolks. If Ernie couldn’t save their comrade Coot from jrteing nursemaid to the baby of Betty Wales, who, under the new Iprder of things, had become business manager of the town paper, if Ijhe couldn’t re-establish the old evening meetings around the stove m the village store, where the old Coots were free to — well, if they Hid get things a little topsy-turvy, wasn’t it their divine right as old Vets ? What was the world coming to ? ! Then the Coots and Ernie laid a deep plan. Upon the arrival of a [nysterious package from France, the Coots paraded the streets I Ivith signs : I “at the opera house tonight FREE PIOTTON PICTURES OF THE FREEMONT BOYS IN FRANCE LADIl'^S ESPPXIAELY INVITED” Did we want to see our boys in France? We did to a man. xng before the appointed time ve were hustling along the street, ■ach intent upon occupying the ront seat. Eagerly we watched he screen, and then, to our hor- or, there appeared our own indi- ddual property flirting with some ,'oung French Vamp instead Ilf spending his 'ime kissing V u r photo- [•raph. And he war had roasting Truex. Left to right : John, Anita, Ernest, Louise and our own Ethel Rosemo A committee ot Coots helps Truex look over the negative Harr)'’, hussy not driven these French girls to men’s clothes. In- , stead, it had but I strengthened their desire to please the masculine eye. ■ Verily, much de- pends upon the weapons one em- ploys to kill the fatted oyster. “Oh, there’s and look at the ^ witlj him!” cried Merci Esmonde, editor of the paper, as Mr. Merci Esmonde appeared upon the scene. “And .there’s^ my George. I’ll never speak to- him again !” shotted the business manager. “From where I sit, looks as if he wouldn’t mind it very much,” laughed an old Coot. “Wait until he comes home,” another girl cried, as the picture progressed. “If I were in his place. I’d never come home,” a Coot near her teased. “Now, ladies, you- see what our boys are , used to in Paris. Are you ready to meet the competition ?” Abe asked, at the end of the picture. Then he continued : “I have a confession to make. These pictures were made by our boys simply f r nnf 'mut’d nn baae 79 J ( Fifty-three ) . The Fame and 1 Fortune A bove : MURIEL MAXINE MAIN Left: EMMA CLARE ORB MARGHEURITE IRVING LOS Angeles, Cal. ; San Diego, Cal. ; Cleveland, Ohio ; Hutchinson, Kansas ; Spokane, Wash. ; Columbus, Ohio, and Winnipeg, Manitoba, Canada, are recorded upon the second honor roll of The Fame and Fortune Contest of The Motion Picture Classic and The Motion Picture Maga- zine. Out of the thousands of portraits entered in the contest, the judges have selected the seven most attractive young MADELINE CUNNINGHAM women to enter between December 15th and Jan- uary 1st. It is no easy task nar- rowing the avalanche of portraits entered in fif- teen days down to seven, but, after long consider- ation, the following suc- cessful contestants were named : Margheurite Irving, of No. 1707 West Point Road, Spokane, Wash., proved to be one of the most winning of all the con c jtants, and her pic- tu* gets a prominent {Continued on page 88) Left: ALIENE FULTON A bove : BEATRICE EDITH BOND (Fifty-four) Fictionized by Dorothy Donnell from the Scenario Based on the Stage Play Alice Joyce as Shirley Ross- more, the mouse ni ■MTIRI.EY Rossmore laid down her pen wearily, to read the 3 last words she had written. “John Broderick had reversed ii the Frankenstein theory. From a man he had made him- self a machine, an iron-willed Colossus of Finance. He had illmost forgotten how to be human ” (j “I wonder,” she mused, “whether he has entirely for- ijotten ?” ! Behind the white forehead, resting on one slender, propping .land, her thoughts ached dully. She had been writing against |ime, feverishly, desperately, ever since that day three weeks |go when she had come home, to discover that her father ;/as an old man. i She thought, heart-sickly, now of that first shocking limpse of his white head, no longer held in the old ! roud erectness, the wrinkles that days of worry had [ragged thru his cheeks, the look of hurt in his deep-set ray eyes. Downstairs he sat this moment, staring be- ore him like a condemned prisoner waiting for the hour f execution. “Six months! We’ve got six months yet,” she re- linded herself. “A great deal can happen — must hap- pen— in six months ! And this” — she touched the closely Witten sheets before her — “this is the first shot in my ■ -ampaign ! It’s only a mouse-bite, perhaps, but mice have jonquered lions before this.” I “Shirley!” — her mother’s voice held a pleasant tinge jif excitement — “Shirley dear, here’s some one to eeyou!” I Resentfully the girl rose with none of the customary leminine touches to hair and belt that are the heritage |if beauty and twenty-three. She was a gloriously png-limbed creature, with something Greek about When John Ryder read the note his •stern, heavily fea- tured face took on a curious expression (Fifty-five) * MOTION Picfu^ the carriage of. her head, and dark, folded masses of hair. There was an unawareness of beauty about her that was quite sincere. She had never consciously looked at herself in her life, which is another way of saying that she had never been in love. Today, however, when she saw who her visitor was, she colored, then frowmed at the confession of her blush. “Why, Jeff!” She shook his outstretched hand nervously. “I didn’t know you were in this part of the world !” “I’m quite likely to be in any part of the world where you are,” the young man assured her gaily. He was a tall, thoro- bred youngster, upon whom the exquisitely tailored clothes he wore did not look dandified. “You know I promised to help you, but I haven’t done much so far. Father has absolutely refused to put in his oar.” “No wonder,” Shirley said, bitterly, “since it is he who is driving my father into disgrace.” There was no mistaking the amazement of his look, and her eyes softened. “Oh, I know you didn't dream such a thing, Jeff. But it’s true. Judge Scott has looked into it and says it IS undoubtedly father’s adverse decision against the Southern and Transcontinental that decided John Ryder to put him out of the way. There are two letters your father has that would clear dad, but he refuses to give them back— says he never received such letters. So I am afraid” — she tried to smile up at his disconsolate face, when they went to the Plaza later that evening— “I’m afraid you’ll have to give up helping me.” “But I wont give you up, Shirley!” Jefferson Ryder said, doggedly. “You know what I told you in Paris — it’s still true and always will be. If you let a little scrap between c fathers “A little scrap !” Her eyes blazed. .She drew herself the full of her superb inches. “When it means the soiling o: good man’s name! It will kill father if Congress votes impeach him, but they shant vote to do it ! I .shall find a w to save him yet !” “If there is a way you’ll find it,” he spoke he.sitanlly, “but the old man’s made up his mind, he’ll get his way. He alwj has. he always will, and there’s no use defying him. I ouj to know — I’ve been his son for twenty-five years!’’ “You’re afraid of him — every one seems to be, and tha why he can get his way, but when he meets some one M'ho is afraid of him or his bullying millions ” She held out 1 hand again with an air of finality. “It’s good-by, Jeff. Wl anything else would be absurd. I’m writing a book about yc father this moment upstairs. I’m going to fight him — fi; him to the last ditch, and I cant have his son making love me while I’m doing it !” “If you’re told to love your enemies, doesn’t that mean t sons of your enemies, too?” Jelfer.son Ryder suggested sorri "Go to it, .Shirley — I’m with you ! If the pater should see yi he’d be with you, too. Why dont you have a talk with hirr “No begging!” Shirley Rossmore said, with a shake of 1 Diana head. “I’m not going to fight with woman’s weapons hair and hats and smiles and Parisian perfumery ! I’m go: to fight him with his own weapon — brains! And I’m going beat him at his own game !” She had spoken confidently, but her heart was heavy wh a week later, she left the manuscript of her book, "An Am( can Colossus,” at the publisher’s and faced the long weeks; waiting that must intervene before the first result of 1 strategy would be known. Waiting was not attractive to 1 nature, the more so as with the passing of the days that broui: him closer to the time of his trial Judge Rossmore grew frai'l silenter, and the tiny, shabby house where they had eti: when the blow fell grew more tense with dread. i “If it shouldn’t work,” she would find herself waking upi the night to murmur; “but no one can help recognizing ‘Jc Broderick.’ He’s a vain man — all braggarts are vain ! A he will want to know more about ■ author.” The first copies of the book came, tl press notices, which she read v, wildly beating heart. Yes, she had b right, her portrait of the gr multi-millionaire had beei good likeness. The Am can Colossus, pitiless, | rannical, a superman n some ways, a small \ in others, seized u j “But I vjj give you ol Shirley,” H ferson R:0 said, dog; !■ ly. “If il let a li-^ scrap betv^ our fa ers “I wish,” he burst out, “that I had been born the son of a hod-carrier ! I might have amounted to something then” "Dear Mr. Ryder — I am not in the habit of visiting gentle- imaginations of the country. The pulpit made it the text sermons, the magazines printed long critical reviews, and, last, one morning came the note that she was waiting for. Miss Green,” the letter ran, curt as a general’s orders a subordinate, “I would be glad to see you at my office in to your book, ‘The American Colossus.’ I shall expect ju on any afternoon most convenient to you this week, ’ours sincerely, John Rutherfoi'd Ryder.” Frances Green had been the nom-de- plume she had signed t, her book, resentful at the necessity for subterfuge, yet rec- c'nizing it. With flaming cheeks, she hurried to her type- O'iter to frame an equally curt reply : ' ' Ryi ' ~ i1;n in their offices. Yours sincerely, Frances Green. ‘‘The first blood!” she told herself, exultantly. “I’ll wager r one ever wrote to him like that before.” She was quite right. When John Ryder read the note the rxt morning, his stern, heavily featured face took on a cu- lms expression. He was not angry — the occasion wa.s too tyial for anger, but he was curious and grudgingly admiring. ;“\Vrite the lady another note, Bagley, inviting her in the I me of Mrs. Ryder and myself to visit our home,” he directed Ijj secretary, a lean, shadowy man, who had lived so long in te shade of the great man’s personality that he was distinctly 1 at-ease when he was alone with himself and confronted with t; necessity of making an independent decision in regard to 1 ; neckties or waistcoat patterns. The second invitation bi'ought Shirley Rossmore incog to tfe house of her father’s enemy. Trim, devoid of coquetry in (Fifty-seven) her severe serge suit and mannish sailor hat, she met his grim gaze steadily. There was even a hint of amusement lurking in the quiver of her lip corners, but her eyes were non- committal. Her silence forced him to the initiative of speech. “I have read your book with interest,” John Ryder said, “and I am curious to know where you found the character of Broderick.” “In my imagination,” Shirley responded, calmly, “where else?” He turned the pages between his fingers. His bushy eye- brows drew together into a continuous straight line, menacing, terrifying. “How did you know,” he asked, abruptly, “that I had an Indian girl tattooed above my right elbow ?” Her clear-eyed innocence was flawless. “Oh, have you? What a coincidence!” He gave her cleverness the tribute of a slow, grim smile. It was not often that he found a match for his wits in the cringing satellites that surrounded him. “This Broderick,” he tapped the book covers, “how would you classify him?” Shirley Rossmore returned his gaze steadily. “As the great- est criminal the world has ever produced,” she said, in her young, clear voice, “as the arch-enemy to mankind. But, as I said before, he is, of course, and very luckily, merely an im- aginary character.” She picked up her gloves and rose, as if to bring the interview to an end. “Is that all, Mr. Ryder? I am rather a busy person.” Twenty-five years of success had given John Rutherford Ryder the point of view of a dictator. He was accustomed to MOTION PICTURE CLASSIC The den of the lion — John Ryder giving orders and receiving obedience ; his wife and son feared and deferred to him, his friends flattered him, the newspapers admitted his power, his enemies, of whom the number was legion, paid him the compliment of bitter hatred, writhed under his tyrannies — and submitted to them. In all those twenty-five years no one had ever so openly and coolly ignored him as this slender girl with the amazingly modelled chin and the unfeminine steadiness of eyes. To his own .surprise, he heard himself speaking sponta- neously. “My dear Miss Green, I hope you are not too busy to undertake a piece of work for me — work which this book of yours has proved you are just the person to do. I wish you to” — he hesitated, changed his peremptory wording — ‘T would be very glad for you to write my biography. The material is already collected, but you would have to compile it here. It cannot leave the house.” Under the smooth mask of indifference Shirley’s brain whirled with a sort of sick stage-fright. Her opportunity — her father’s opportunity lay in her grasp, but for a panicky instant the magnitude of the task appalled her. What if she should fail ? After all, this grim, gray man before her was a lion and she was only a mouse. Then resolutely she raised her head and met his glance, un- smilingly. “I will do it.” He liked her brevity, her lack of the useless words and fluttering, meaningless movements com- mon to her sex. “I will come tomorrow. There’s no time to lose.” To herself she was thinking in terms of months and days. “Three months before Con- gress convenes. I must hurry — hurry for my father’s sake. Amen !” It was her way of praying. Shirley Rossmore was not one to lay her burden of petition THE LION AND THE MOUSE Fictionized by permi.ssion from the scenario based on Charles Klein’s drama. Produced by Vitagraph, starring Alice Joyce. Directed by Tom Terriss. The cast: Shirley Rossmore John Burkett Ryder Jefferson Ryder ^ Judge Rossmore Mrs. Rossmore Kate Roberts Senator Roberts W. H. Burton Judge Stott Fitzroy Bagley upon the Lord and sit with folded hands, waiting. As shooks hands now with John Ryder, the library door ope to admit Jefferson. At sight of his father’s visitor, stopped, staring blankly. “Jefferson, this is Miss Frances Green, who is cominj stay with us for a few weeks to do some literary work me,” said the older man, in the tone of unconscious patror which he always used toward his son. A slight shake of S ley’s head checked the impending disclosure. She held oi .self-possessed hand. “Your father has been kind enough to be interested in book, ‘An American Colossus,’ ” she explained, sweetly. \ a gravity that matched hers, he took the small, gloved h, “I should think,” he dared her, “that you would be air afraid of your own creation. Miss — Green. John Erode is — immense !” Shirley Rossmore smiled gently up into his anxious ( “I am not afraid of any man in a book or out,” she : “Even the John Brodericks of the world have their hu spots. If I were to meet a man of that sort I would be c certain that I should find his sooner or later.” She had been a regular inmate of the Ryder household several days before she the opportunity of spea to her one-time suitor a' Then, one afternoon, looked up from her m script, to see him standir the doorway of her tiny ' ing-room, watching her fli fingers with overcast 1 and slightly sullen lips. ! “I wish,” he burst out : agely, “that I had been I the son of a hod-carriei might have amounte something then.” “You would have sto 3 better chance of it,” iht {Continued on page 8< (Fifty-eight To keep your nail tips white alt day, apply Cutex Nail White, underneath them in the morning tor a delightful, last- ing polish, use Ciitc.r Nail Polish. Comes tn any >far>n . you desire. 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Cutex Nail White is 3.5g, Cut?x Nail Polish in cake, paste, powder, liquid or stick form is 35c. Cutex Cuticle Comfort is also 35c. Complete trial manicure set for only 21c Mail the coupon today with 21c, and we will send you the complete Midget Manicure Set shown below, enough for at least six “manicures.” Send for it today. Address Northam Warren, Dept. 903, 114 West 17th St., New York City. If you live in Canada, address Northam Warren, Dept, gos, 200 Mountain St., Montreal, Can. '■f./. (Fifty-nine) MAIL COUPON WITH 21c TODAY NORTHAM WARREN Dept. 9d3, 114 W. 17th St., N. Y. C Name Scene: The mahogany -fin- ished sanctum of the president of the newly cre- ated Solar System Pictures, Inc. Flowers grace the desk of the execu- tive, who is medi- tating in a comfort- able chair. Trembling Secretary; Rex London, the famous author, is waiting outside with a scenario. President: Let him wait. What’s he doing here during our first week? T. S. : And David Thomas Griffince, the great director, has just wired. President: Too soon. Tell him to wire again next month. T. S. : The men who are going to build the studio have just ’phoned for an appointment. President : What’re they trying to do — rush me ? Let ’em wait ! T. S. : And there’s a man from an electric sign company outside. I’ll send him along, too. President {rubbing his hands enthusiastically) “ Take an order for a dozen Broadway signs out to him. . . . Are you ready? . . . Take this down. Electric signs to read: The Solar System presents Tessie Jazz in the world’s greatest super-picture, “The Triumph of Aphrodite.” Got that? T. S. : Yesir — but you haven’t got the studio or the scena- rio or the director yet ! President {benignly) : That’ll do. I’m closing up now for two weeks. Going to the coast to look over conditions. Tell my press-agent to shoot out something about the great future of the photoplay, particularly Solar System photoplays. I’ll be back on the thirtieth! {Exit President.) Third base — Conway Tearle. Pitcher — Bill Hart. Catcher — Charlie Ray. There are no subs. We had all we could do to make a full team. And for umpires we’d name Cecil De Mille and Maurice Tourneur. What a neat idea it was for Samuel Goldfish to change his name to Samuel Goldwyn, because he heads Goldwyn Pic- tures. Wouldn’t it be whimsical to go further and have Adolph Paramount, Richard A. Metro and Carl Bluebird? If there’s anything more permanent and unbreakable than David Griffith’s doors, we want to see it. It takes a whole Hun army five hundred celluloid feet to smash one of them down. Henry Ford has invaded the educational weekly field. In other words, Henry hopes to educate the films. Most million- aires are educated by the films on entering the game. Boy, page Mr. Hearst. A new screen company has just been launched yclept the Gold Coin Company. And Sidney M. Golden is the organizer. Just as we type this — with the mercury flirting with the zero mark — we learn that Theda Bara is playing a hula-hula lassie in a South Sea picture termed “Creation’s Tears.” And with relief we discover that the Florida coast and not Fort Lee is playing the role of the Pacific isle. Double Exposures About this time each year, with spring hovering on the horizon, we like to select our yearly silverscreen baseball teams. Here’s our choice for this year of our Lord, 1919, femininity coming first ; Outfield — Nazimova, Norma Talmadge, Elsie Ferguson. First base — Mary Pickford. Second base — Constance Talmadge. Short stop — Louise Fazenda. Third base — Gladys Leslie. Pitchers — Theda Bara, Alice Joyce. Catcher — May Allison. Subs — Madge Kennedy, Dorothy Gish. . And the team of mere men would be : Outfield — Elliott Dexter, Henry Walthall, Herbert Raw- linson. First base — Charlie Chaplin. Second base — Dick Barthelmess. Short stop — Wallie Reid. Out in India they are protesting about American photoplays because they show kissing. Like the Pennsylvania censors, they think it the height of impropriety for a man to kiss a woman. Consequently, their favorite dramas are the Ameri- can news weeklies. The Egyptian rights to Theda Bara’s “Cleopatra” have just been sold. Now if the Eg)rptian board of censors will only stop the production or something, we’ll have an interesting publicity story. William Fox predicts that Western pictures will come back strong this year. Yes, Fox produced the Tom Mix and Bill Famum Westerns. And Carl Laemmle is quite sure that war stories will remain in popularity. Carl has “The Heart of Humanity” and several others on hand. There’s nothing like getting impartial views on things. a j I it (Sixty) Buffalo Chic^o Peoria I to neatest address 'A 5 i i I i ■‘ The Evelyn Greeley ' Model A charming street or a-fter- noon gown made by “Collins” of New York City and Palm Beach. 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See the splendid new offers of Spring Wearing Apparel like these models. Also hundreds of illustra- tions of furniture, rugs, curtains, silvetware, etc. Learn how to interest your friends and neighbors in our great Club Plan. We make this a very profit- able service. if This Charming Afternoon Frock Is given with purchases of Larklu Producta MaKe the money that stocks your pantry also clothe 70U. Cottr-BufMo, Please send me your Chicago, Peoria new Catalog, Name Address G. P. 398 ( HKcty-onej MOTION PICTURE CLASSIC After the War — What? {Continued from page 19) and political life. The returned soldier is going to play a mighty part in the next national political campaign and in him there is room for a vital picture. Political observers predict that a sol- dier candidate will be put forward by one of the older parties in the next cam- ])aign to offset a .socialistic tendency feared by political machine.s. Will the big photoplay deal with the problem of women in business — the problem of the woman who supplants the absent soldier and who must now fight for her vei'y existence? Will women, broadened and developed by participa- tion in world activities, be satisfied to step backward ? Will it deal with the varying phases of socialism, something that goes deeper than looking upon every socialist as a be- whiskered gentleman with a bomb in each hand ? Or will it present the new — and ideal — American home, wherein the man and the woman live, work, achieve and dream together, for the war has ad- vanced femininity to this position ? Here is a subject of extreme significance. The director to catch this great new subject and enmesh it in celluloid will be the next Griffith. Will Griffith himself do it, or will it be Ince, Tourneur, De Mille or any one of a dozen promising creating men of the studios? Does the genius to do this big picture lie in Grif- fith, with his singular ability to handle masses and his equally singular inability to get away from the melodramatic chase; in Tourneur, with his painter’s sense of beautiful pictures and his semi- Parisian viewpoint ; in Ince, who seems to have lost his splendid scenario sense ; in De Mille, looking upon life with the eye of the theater but steadily advancing ; or, indeed, in any one now on the horizon ? Or will a new movie genius come out of the West? Seeking the ideas of the foremost men of the silverscreen on the problem, we wired to David W. Griffith. He does not believe that a great public problem will be the subject of big future pictures. “I believe that it will be more or less as it was before this war,” he says. “The ex- haustless storehouse of humanity, always waiting to be e.xploited, lies in the prim- itive desires, loves and elusive hopes of the human heart. I am afraid that the problems succeeding the war change from day to day, each, new day bringing a new problem ; that when building a photoplay on any one, you take the chance of having it a back number by the time it is released.” Maurice Tourneur believes in the screen wholly as an amusement organ. “I consider it a mistake to build photo- plays around problems,” he wired em- phatically. “Photoplays are for enter- tainment and should be entirely inde- pendent of world problems, which form topics for lectures, newspapers and maga- zines.” {Continued on page 72) Sunlight on White Velvet {Continued from page 21) Apropos of the desk, it might not be inappropriate to say that Miss Doro loves antiques and has a habit of finding the most beautiful objects in the most unexpected places. I was glad that it was the twilight hour and that the shaded lamps were lit, for that is the hour that welds people closer, it is the hour of confidences. Miss Doro easily achieved the unusual by looking dainty in a dark-blue serge dress such as any schoolgirl would wear, and the impossible by looking dignified while curled up on a davenport. We spoke of many things ; her forth- coming trip to Europe and how glad she is to be going to do pictures under the direction of Herbert Brenon, whom she considers one of the really great direc- tors; of her former trips abroad, some twenty or so in number, when she was starring on the stage in “The Morals of Marcus” and “Diplomacy” ; of life and its oddities ; of art and its expression ; of marriage. Altho she is very learned, Marie Doro’s eyes — yes, manner — express a certain naivete. There is about her a certain dependence, and yet one could not call her dependent. Perhaps one would better say there is a certain confi- dence and trust in her attitude towards the world. She possesses a lack of pose which makes her own charm distinctive, but spirituality is her chief aura. We were speaking of geniuses. “Why ivill people simply read the old masters and believe them without exert- ing their own reasoning powers?” she said. “For instance, Carlyle’s oft- quoted and constantly believed defini- tion, ‘Genius is an infinite capacity for taking pains.’ When you stop to analyze it, you know that isn’t true. Geniuses are people that' are able to do all things well, which means simply that they are intelligent. They specialize in one cer- tain method of self-expression. If they possess humor, the ability to laugh at themselves and not to become so blinded that they cannot see their own mistakes when admirers flatter, then their genius will accomplish great things.” Miss Doro is fond of music. She thinks her real mode of self-expression should have been the piano, but the op- portunities for recognition in the musical world are fewer than on the stage. Con- sequently her intelligence counsels her not to be dissatisfied with her success as an actress. “Do you know,” said Marie Doro, “my greatest satisfaction has come from seeing Elliott succeed.” (Is it neces- sary for me to remark for the — ionth time that in private life Marie Doro is Mrs. Elliott Dexter?) “Elliott has been so perfectly con- tented to go on day after day making pictures, without any wild ambition for vast popularity or stardom, that it de- lights me to see him pushed ahead, almost in spite of himself.” {Continued on page 81) The Mysterious Miss Clayton \ {Continued from page 51) to be a good one.” In the metropolis, however, she found so much to do and to see that she did not go near any of the booking offices. “I didn’t care about bothering over the stage,” she said, simply. However, it seems that she came in contact with a friend of O’Reilly, a well-known Middle West theatrical manager, who was in New York hunting for a satisfactory leading woman. O’Reilly came, saw and was conquered, and he offered her the place, but his company was in Minneapolis, and she ^ wanted to return to Chicago, and she turned him down. After she had returned to Chicago, O’Reilly came and repeated his offer. “He asked me,” she said, “if it was a matter of salary, and I told him that I w'ould not consider any salary, that I did not care to go.” O’Reilly, repulsed, returned to Minne- apolis and permitted several weeks to pass. Then he hit upon the brilliant i expedient of sending a money order to pay the expenses of herself and her mother to Minneapolis. And they went. What happened next? O’Reilly re- ceived his deserved reward. Her success was assured from her first appearance . on his stage. As I learnt this, my eye : wandered to the groups of waiting ex- tras at the studio, contrasting their pre- carious lot with what Fate had given to Miss Clayton. She followed my gaze and, with that subconscious intelligence . which is the core of her mystery, read my thought. “I believe,” she said, “that a girl start- ing in now should have some indepen- dent means of livelihood. I do not see how it is possible to live on an extra girl’s pay. There are so many of them, you know ; and then, too, work is so un- certain. Yes, a girl must have some- thing to tide her over until she grows ij tired of the whole thing and goes home.” ' The same pressure from outside that ; put her on the stage swung her from I stage to screen in the palmy days of the Lubin Company. Lurid melodrama, with the action that goes with it, were her portion in those days. Then the : World won her away from Lubin. Before we parted she gave me a stand- ; ing invitation to tea with her in her cozy : bungalow in Hollywood, and I am going to accept it some day, because I like her. As we very, very seldom really like : people who form interrogation points in ; our minds, I explain my liking for Ethel Clayton by the absence of any sham, pose or affectation in her. Of one thing I feel sure. I may have tea with her many times, we may, and I hope we will, be friends for many years, but I do not think I will ever know her any better or that her best friend knows her better than I, a casual acquaintance, know her now, and all I have said to you and writ- ten for you here is a confession that I have no plumb for her depth. (Sixty-two) iii I^Beiore going out, to keep your skin I ‘ soft, clear and fine-textured, use jj ■ Pond's Vanishing Cream, It is ab- solutcly greascless and vanishes the moment you apply it. /It night, to thoroughly cleanse your skin of all the dust and grime gathered during the day, use Pond's Cold Cream. 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New York CHy Please send mo free the Items checked: A free sample of Pond's Vanishing Cream A free sample of Pond's Cold Cream Instead of the free samples, I desire the items checked belo\v, for which I enclose the required amount to cover postage, packing, etc. A 5c sample of Pond's Vanishing Cream A 6c sample of Pond’s Cold Cream Name Street •Jlty State only i'ond’s Vanishing Cream. Use it several times daily to soften and freshen the skin, You will find it ideally suited to your type of skin. A refreshing cold cream Unless your skin is of the oily type, you •should give it a thorough cleansing nightly with Pond’s Cold Cream. The face is ex-, posed to dirt during the day and it is almost impossible to keep your skin clear and fresh looking without this cream cleansing. Tonight cleanse your skin with Pond’s Cold Cream. This is an oil cream prepared especially for cleansing and massage. It is entirely free from pastiness. You will he de- lighted with the wonderful freshness it gives. 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NoTite Addreet I I The Brownie Who Became a Star {Continued from page 32) For instance, I had hocked my time- piece in Nashville in order to get north, so when it came to rising I would have been at a loss if it had not been for the friendly church nearby which rang the hours each morning. Then I’d sit up in bed, gaze at the Hotel Normandie clock, decide wliether I’d do without breakfast — a decision I often made without much mental effort but with bodily discomfort — and so got along splendidly without my ticker.” But it only lasted a short time, that famine period. Mr. Lewis soon had an engagement with “A Chinese Honey- moon,” a musical comedy which enjoyed 1 long run. In fact, he stuck by it for two years. Then followed a summer engagement with pictures in the old Reliance Com- pany. In those days producers like Wil- iam Brady refused to engage actors for ;he stage who had ever been tempted by :he films. It was a case of earning a living, so Mr. Lewis defied fate and tried the screen. Really, it was Phillips Smalley who introduced him to the new idea with the remark, “Easy money, Mitch, easy money. Do try* it out.” After one picture was finished there was a change of directors, and the new direc- tor didn’t like Mr. Lewis’ lack of arm motion. As the actor was tall, he refused to become a human semaphore and was promptly discharged. He drifted back to the stage, and, when another dearth of engagements arose, his good angel, Phil- lips Smalley, again ran into Mr. Lewis’ receptive embrace. There were three or four pictures with the Rex concern, then a trip to England, where Mr. Lewis played Npbody in “Everywoman.” He’d never worn a dress suit or tile hat before, but English society demands caused him to buy the first evening uniform. On returning to the States a number of theatrical engagements followed, and then a very queer circumstance put Mr. Lewis into pictures forever ’n’ ever. He had met an old-time friend, Syd Bracy, one day, who asked him to come to a lovely spot called New Rochelle, where he might possibly find an engagement with Thanhouser Films. Mr. Mitchell was living uptown in New York at 181st street and one morning he started off for a walk and finally a ride on the road to West Farms. Seeing a car marked New Rochelle, he boarded it with the idea, “Guess I’ll go and call on Bracy.” Alighting at New Rochelle, he found the Thanhouser plant and a man outside wildly waving his arms and saying, “For goodness’ sake, hurry up; we’ve been waiting for you for over an hour!” Mr. Lewis said, “Waiting for me? I guess not. I dont know anybody here but Mr. Bracy.” The excitable individual shouted, “Sure you do! You’re to play with Mr. Heff- ron. What’s the matter with you, loony?” 7' Mr. Lewis didn’t know really just who was the goat, hut he said weakly, didn’t have any engagement here ; I jus thought I’d call on Syd Bracy ” “Ah, g’long with you. Trying to ki( me ? You’re Mitch Lewis, aren’t you Well, you’re playing a part in this thinj all right, and you’d better rush along nov or you’ll get yourself in wrong.” Mr. Lewis never did know how th thing happened. No light was eve thrown on the subject, and whether hi got a telepathic message in his dream which sent him out that warm mornin or whether some one at the studio erre no one can say. Anyway, he was tol| to put on a false mustache, wear tli! clothes he’d come in and play a blackhan | part. ; After that followed “The Million Doi lar Mystery,” with Marguerite Snov Flo La Badie and Jimmy Cruze. The he did “The Barrier” and was asked t go on the stage with Nazimova in “ 'Cep tion Shoals,” but liked films so well b that time that he’s never gone on tl boards again. Just before our interview Mr. Lew was to do a big feature which requirei snow, but as it hasn’t snowed even » Big Bear, California, thus far, the con pany put on “Children of Banishment! which is filmed in the Yosemite. Mr. Mitchell is a pure type of Canuc — swarthy, dark-eyed, easy of movemei — a man who feels at home in tli clothes of the Westerner and who hat! dress-up. In connection with this he f cited a humorous incident connected wi r his first Western appearance. He’d bei invited to a big reception at one of til motion picture plants to celebrate tij building of a glass stage. He hated ! doll up, but thought he must for once on the best he had, and so sallied forth dinner coat and top hat. Having sacrificed everything for t sake of high society, he was intense ji astonished to find that Los Angeles fc' love soft hats, comfortable suits and or. put on claw-hammers under protest. : “You should have seen me,” said Lewis mournfully. “I was the only nn^ in a dinner coat — save the waiters ! dont think I have gotten those tc ■« out of the closet since. I wear soft csirf or hats, and as I work so much on loi-^ tion — am even qow getting ready for ij or eight weeks in the wilds of Califon j — you may know I dont need much wai robe. I’d hate to be a dolly-dolly leadiil man, I would!” '(i And Mitchell Lewis, creator of cou -j less out-of-door types, shivered at mere idea of crimped silk shirts and h ’ ■ collars. 5 Juanita Hansen was loaned to Lois We r to appear with Anita Stewart in her first f duction. Many of the scenes for this iVnl were filmed on the seventh floor of the H I » 1 Alexandria, where Miss Stewart has a si e' i of rooms. Miss Weber likes to use the i L thing instead of sets, and often borrows ha .ti * k)nie houses for her interior scenes, or i s j hotels, as in the present instance. ■ J ( Sixty-four) k- ' C|.SSIC The New Studio Art i {Continued from page 18) Jduction upon which he worked, that it^)cious fable called “Fighting Odds,” nvhich Maxine Elliott made her justly Hated debut. The only memorable •eture of that film — except for Charles E ton’s acting — was the settings. They fS'C the much-touted “Goldwyn quality” phallmark. And of these settings the iifet notable was the boudoir ip which dis'Elliott, as a woman of means accus- ojed to luxury, made the deliberate con- [Vist of the man who was striving to rk her husband. jt was up to Ballin to produce the ese of wealth and breeding — and some- Hig more. The scenario called for the ice of passion. He did it all with three ii|four handsome but simple “props” .ginst smooth gray walls and two slim liiperies of black. The Orient furnished [jj only materials he needed — an Egyp- ia placque, stone censer and carved 4ch. There was more beauty and a i|r and subtler suggestion of luxury ,i passion in these few things than ijre would have been in a whole massed '|ng shot” of all the Oriental cozy cor- KiS of the Fox storehouse. I'lote one thing further. In such a set 'ill can see the actors. Your eyes aren't ling up their energy hunting for the ijyers among a maze of chairs and gold imes and fur rugs and florist’s shops. y|en tho beauty and appropriateness Jre flung aside — instead of heightened -pallin’s method would still conquer, wause it deliberately forces the spec- ^jDr’s eyes to concentrate on the primary ijng in moving pictures, the human ings. Ornamentation and elaborate- lis of settings and costumes can only Iteat that end. Witness the money and ::le spent on the feather costumes and iborate interiors of “The Woman God Ygot.” In that welter of black and lite and gray restlessness it was impos- lle to see clearly or follow properly I actions of the characters when in vio- |t motion. You couldn’t see the forest f the trees. The photoplaygoer who has followed i Goldwyn productions can now recall Hundred beautiful scenes which hardly i racted his attention at the time because ey accomplished the much more impor- it purpose of fusing with the story, e direction and the acting in one single ect. That is Ballin’s success. But this is not to say that the artist has icomplished all he hoped for. Perhaps was nearer complete accomplishment the first few months of his work than is now. For then it was a theory — d a practice — of Goldwyn that for ery director who, was a moving picture :pert there should be a co-director who as an artist. Thus while Everett Shinn orked with Horan on “Polly of the ircus ’ and W. H. Cotton, the portrait iinter, with Trimble on “The Spreading awn,” Ballin was partnered with Rob- tson on “Baby Mine.” In designing e settings he indicated on the ground art all the camera angles. During the ^ Sixty- five) Both Carry The Same Food Value Measured by Energy Units The 32-cent package of Quaker Oats contains 6,221 calories of energy. And foods, as you know, are now measured by calories. Note what a bulk of some foods it takes to equal that single package. That is, to supply the same energy value. t It Equals In Calories 53 Cans of Tomatoes Or 21 Cans of Peas Or 50 Large Potatoes Or 750 Oysters Or 80 Bananas Or 22 Pounds Perch Or 89 Eggs Or 9 Pounds Veal Cutlets Compare the cost on this same basis and the difference is amazing. Note that meat foods, fish and eggs average ten times Quaker Oats’ cost for the energy they yield. But the difference is greater still. The oat is a better-balanced food. It is more nearly a complete food. For people of all ages, it is called “The Food of Foods.” Note these cost comparisons, based on prices at this writing. Con- sider them in your breakfasts. Ten people can be fed on Quaker Oats at the cost of feeding one on meats. The Elxquisite Flakes Two Sizes 12c to 13c — 30c to 32c Except in the Far We^t and South Packed in Sealed Round Packages with Removable Cover (3000) MCVl ION F>ICTl Gives that subtle .charm to skin and cottinlexlonthat at- tra^nuii)e Hawaiian Ukulele, music,' v.rythlng — no extras. Ask us to send iho story of Hawaiian music. You will It. No obligation — absolutely free. THE HAWAIIAN INSTITUTE OF MUSIC 400 Broadway. Suite 803, New Yor«( k ■> The Star Vibrator ii a moet convenient and valuable aid to me in keeping my ikin and complexion in a healthful condition. '-4/ For health — on which depends comfort and beauty — an electric vibrator is absolutely essential. The time is coming when a vibrator will be recognized as indispensable for the sick- room and the dressing table. The extremely low price of the Star Vibrator eliminates the only obstacle. Every woman now can own one of these marvelous aids to beauty and health.. Facial maaaage with a Star Vibrator brings a healthy glow to the skin, rubs out the wrinkles and fills in the hollows. As an aid to beauty, there is nothing so efficacious as an electric massage. For the treatment of rheumatiam, muscular fatigue, cold extremities, etc., the Star Vibrator is far more effective than a hot-water bottle or the plasters, liniments, etc., .. .. u »o.uu 1, ordinarily used. in (money order check). Send one Star Vibrator complete with attachments on ten days' trial. If not satisfied, a I may return the vibrator and my money Is then to be re- a fimded without (luestlon or delay. ^ We guarantee the Star Vibrator to be mechanically perfect, to do all that any vibrator will do and we offer it to you for a ten days’ trial your money back if you are not satisfied. This guarantee is made by one of the oldest and largest tnamifacturing concerns in Torri7tgton., Conn. We refer you to any bank in this city, any mercantile agency and to the editor of . this magazine. Name. * THE FITZGERALD MFC. CO. Address a Not*— Vibrator cannot be used If you have no electric current (electric lights) In your home. Fits any standard electric light socket. 32 Railroad Square TORRJNGTON. CONN. I i I ! I ! I ! taking of that comedy he never left t floor while the work was going ( In these circumstances Ballin acco' plished fully his own notion of t artist’s part in the films. He has t pressed it thus ; ‘‘In designing any scene in a photopl I have in mind not only the general pi poses for which the set will be used, I I visualize mentally, after a careful rei ing of the scenario, the positions of 1 players in the setting at this and anotl moment of the play. Thus I have men pictures of so many vital compositic of figures and backgrounds, and wher design a bench here or a w'indow tin I know- before the scenery has been bi just how- the actual scene in the pho play will appear on the screen, just wl* the relationships between the persons a things in the scene will be, just wl eft’ects will be produced and just wl drama will flow from striking this, tl or another note in composition.” The succe.ss of “Baby Mine” — a Ballin — was unque.stioned. Perhaps it v tpo great — or the success of the otl artists too slight. At any rate, Shinn a Cotton disappeared from Goldwy ranks and the whole load of art di recti w^as cheerfully thrust on Ballin’s sho ders. Ballin has tried to do on five or . simultaneous productions the same intij sive w'ork that he did on “Baby Min Naturally he hasn’t succeeded. ' Perhaps the extent of the w-ork Bal has tried to do accounts for the fact tl he has not conquered completely the cc ventionalisni that hangs rouncl even young a thing as a motion picture stucii Some day, for instance, he is going do a love scene against a semicircu setting composed of nothing more thai wall of enlarged Persian patterns. So day he will save his studio thousands! dollars by building most of his seem out of draperies and shadows. He 1 the hardihood to believe that it does pay to build solid compo-board walls w carved moldings that are almost entin hidden in the deep shadows of the b modern lighting. Doors, fireplaces, f^j niture — and light and shadow- — these all a photoplay needs. All this is a matter of the future, will happen. The date w-ill be about time that the leaders of the industry cover from the idea that spending a. of money is the way to make a lot money — not to mention art. It may oo sooner if some producer now howl over the frightful costs and losses beg to do a little thinking. While Ballin waits he can look bi i with a smile on the first da}- of real pr ress made in the Goldwwn studio at F t Lee. The photoplay was “Fields f Honor,” the first production of the rvi firm. The director wanted a hall. / I he met the theory of simplicity for first time. There was a battle ro; The decision hung in the balar!^ Finally the director gave in. Yes, hall would be simple. He would see that himself. .\nd so — more or less o r (Continued on page 74) j (Sixty six) ASSIC I '.S' 1 . ; Cheating Cheaters j ' {Contimied from page 42) i Tree, I guess/’ he added; “poor j r. . ' ' I’lf she squeals,” said Steve, and felt I- the pocket where his gun had been 'ore the coppers relieved him of it. When Nan did come in she was guilt- I white. Her head was lowered and as 1; passed the expectant gangs her eyes »re averted. Tom gave up hope. Nell ^ockton attempted aplomb. “Is it Fer- |s. Nan?” she asked. “Is it Ferriss liat got on to us ?” Nan looked at them. Her eyes were ).riously kindly, even compassionate, e had the expression of one who looks little children who have been very Ughty and must, perforce, be dealt th. pYes,” she said, ‘it is Ferriss.” There s a long pause, during which Detective blmes stood in the doorway. Then ith raised her head. “Boys.” she said, am Ferriss — Ruth Ferriss.” A gasp rose up and seemed to smite Jainst the grimy ceiling. Tom Palmer jiistled, very, very softly. Under his ijath he murmured. “Clever, oh, clever,” d Ruth heard him, for her calm ►uth quivered. She turned to Detective jjlmes. “Mr. Palmer,” she said, “is the ' der of the Palmer gang. I should like j| have a little talk with him before I {plain matters to the others. Will you ; these other ladies and gentlemen out ■for a few moments?” jlWhen they were alone, Tom turned to |lr and laughed. “You've got the whole ck, iMiss Ferriss,” he said. “Tell me .ickly how' you are going to dispose us.” Ruth came over to him and took him the lapels of his coat. There, in that ime-sodden room, her face glowed like early rose. “Tell me, rather,” she |id softly, “how you are going to dis-' jise of me.” Tom stared at her. “Y^ou mean . . . ?” ! said at length. /‘That some women can only love once, am one of those women, Tom." After a close silence, Ruth raised her ;ad. “I was a reporter on one of the 'lilies,’’ she said. “A bit of my work tracted the attention of the detective [encies, and one of them offered me a b. I was successful on small cases, hey gave me this big one— to get the rockton gang. I got in with George ‘rockton — went abroad with him to keep line on him — met you ; saw your hero- in when that sub got us. Tom Palmer, ;) you suppose I could condemn a man ho would throw away his life that a sick lild might go aboard — to safety? Do pu? Well, I came back with the Brock- m gang, who had been commissioned to j et’ the Palmer gang. And, so you ;e ...” > “And now I “Well, now I am going to give every 'st one of both gangs a chance to go ;raight. I went in to ‘get’ you. I have pme out, liking all of you, believing in {Continued on page 81) ' ( Sixty-seven) The Man Who Stsry Dowil_ He was putting in long hours at monotonous unskilled work. His small pay scarcely lasted from one week to the next. Pleasures were few and far between and he couldn’t save a cent. He was down — ^but he wouldn’t stay there! He saw other men promoted, and he made up his mind that what they could do he could do. Then he found the reason they were promoted was because they had special training — an expert knowledge of some one line. So he made up his mind that he would get that kind of training. He marked and mailed to Scranton a coupon like the one below. That was his first step upward. It brought him just the information he was looking for. He found he could get the training he needed right at home in the hours after supper. From that time on he spent part of his spare time studying. The first reward was not long in coming — an increase in salary. Then came another. Then he was made Foreman. Now he is Superin- tendent with an income that means independence and all the comforts and pleasures that make life worth living. It just shows what a man with ambition can do. And this man is only one out of hundreds of thousands who have climbed the same steps to success with the help of the International Corre- spondence Schools. What about you? Are you satisfied merely to hang on where you are or would you, too, like to have a real job and real money? It’s entirely up to you. You don’t have to stay down. You can climb to the position you want in the work you like best. Yes, you can ! The I. C. S. is ready and anxious to come to you, wherever you are, with the very help you need. Surely when you have an opportunity that means so much, you can’t afford to let another priceless hour pass without at least finding out about it. And the way to do that is easy — without cost, without obligating your- self in any way, mark and mail this coupon. THERE’S ONLY ONE WAY TO SECURE A SATIN SKIN APPLY SATIN SKIN CREAM, THEN SATIN SKIN POWDER. TRLEFHONE. 64y9 MAIN U/?e Wm. G. Hewitt Press ‘Printers and flinders SPECIALIZING IN BOOK. CATALOG AND COLOR WORK Sixty-one to Sixty-seven Navy Street BROOKLYN, N. Y. [ INTERNATIONAL "correspondence SCHOOLS I BOX 6759 , SCRANTON, PA. I Explain, without obligating me, how 1 can qualify for the poal* ^ tlon. or in the subject, before which 1 mark X. □ ELECTRICAL ENGINEER □ Electric Lighting and Railways □Electric Wiring □ Telegraph Engineer □ Telephone Work □ uecmankaIi engineer □ Mechanical Draftsman □ Machine Shop Practice □ Toolmaker □ Gas Engine Operating □ CIVIL ENGINEER □Surveying and Mapping □ AIINE KGKEMAN OK ENGINEER □ 8TATIONAKV ENGINEER I Marine Engineer Ship Draftsman ARCHniLCT Contractor and Builder Architectural Draftsman Concrete Builder Structural Engineer PLL’UIIING AND HEATING Sheet Metal Worker Textile Overseer or Supt. CHEMIST □ SALESMANSHIP □ ADVERTISING nwindow Trimmer □Show Card W'rltcr □Sign Painter LjRaiiroad Trainman □ILLUSTRATING nCortooning □ bookkeeper □ Stenographer and Typist □ Cert. Public Accountant □ TRAFFIC MANAGER □ Railway Accountant nComme rcial Law □ GOOD ENGLISH □ Teacher □ Common School Subjecti □ Mathematics □ CIVIL SERVICE □ Railway Mail Clerk UADTOMOIIII.E operating □ Ante Ki*pslrlng □ Nsvlffation !□ Spanish □ aGUICIILTURE ip French □ I’dultrj Hslstnc lu ItalUa Name Present Occupation. Street ami No CUy_ State. Be a Moving Picture Slar Do you knew that many Moving Pictun actors and actresses get from $500 tc $3,000 a week? Many young ladles and young men working for small wages ccvuld do just as well if they knew how. This book will teach you everythinp from start to finish. Also tells how and where to apply for a position. Gives tli-’ addresses of all the studios and manager aivd tells werything in detail. It Is a pleasant and profitable profession and th< demf-nd exceeds the supply all the tlnu* We will mall the book to you for 10c am; 2c for mailing. YOUNGS PUB. CO. Dept. H. East Narwalk. Conn HOTEL BINGHAM -PhUadelphia IN THE CENTER OF EVERYTHING Large well lighted and comfortable rooms. Hot and cold running water in ev^ry room. Only hotel having direct Subway and Elevated connection with all railroad stations, ferric and derartment stores. Roof Garden. Club Breakfast. Special Luocneoni. Rooms without bath. $1.50; with bath, $2.00 up, FRANK KIMBLE, Managtr. My 10 years with a com By a woman who typifies millions How Blue = jay Acts A is a thin, soft pad which stops the pain by relieving the pressure. B is the B & B wax, which gently undermines the com. Usually it takes only 48 hours to end the corn com- pletely. C is rubber adhesive which sticks without wetting. It wraps around the toe and makes the plaster snug and comfortable. Blue-jay is applied in a jiffy. After that, one doesn’t feel the corn. The action is gentle, and applied to the corn alone. So the corn disappears without soreness. I had, like most women, two or three pet corns, which remained with me year after year. I suppose that one was ten years old. It had spoiled thousands of hours for me. Of course I pared and padded them, but the corns remained. Then Somebody Told Me Then somebody told me of Blue-jay. I promised to get it, and did. I applied it to my oldest corn, and it never pained again. In two days I re- moved it, and the whole corn disappeared. It was amazing — two days of utter comfort, then the corn was gone. That day I joined the millions who keep free from corns in this way. If a corn appears, I apply a Blue-jay promptly, and it goes. I’ve forgotten what corn aches were. I have told these facts so often that not a woman I know has corns. Now I gladly write them for this wider publication. Certainly corns are unnecessary. Paring and padding are needless. Harsh, mussy treatments are folly. When a corn can be ended by apply- ing a Blue-jay, surely everyone should end them. And anyone who will can prove the facts tonight. Stops Pain Instantly Ends Corns Completely 25 Cents — At Druggists BAUER & BLACK, Chicago, New York, Toronto Makers of Surgical Dressings, etc. MOTION PICTURE Little Comrade {Continued from page 30) Genevieve smiled ruefully. “You see,’’ she confessed, “I was awfully lazy this afternoon and I didn’t get my stunt done. Besides, Tm not a very — a very talented farmerette yet!’’ She- looked down at her puffy, calloused palms drearily. “I dont like being a farmerette as much as I thought I was going to, but I’m not going to be a Benjamin!’’ “A what?” he asked, bewilderedly, and for the second time that day Gene- vieve explained the unflattering term. At the end he laughed shortly, as tho he, did it to keep himself from crying. “.So ma said that, did she?" He, stared down at his big, lax hands. “Sol ma still believes in me ” Genevieve looked at him, without sur- prise. “You’re Bobbie!” She laid one of her blackened little paws on his .sleeve. “Oh, I’m so glad ! I wanted tol ask you — do you hate your job very much?” " He choked over his reply. “I despise^l it ! Practicing to kill men ! Think of it — oh, it’s beastly ! It makes me sick “I know just exactly how,” she noddedi eagerly. “This morning in the chicken- - house I felt like that. I just wanted to give up and run away !” He had her hand in his now, but* neither of them noticed it. “And you — ' you didn’t !” he marveled. “You stayed^l “Of course,” Genevieve said, matter-^ of-factly^ “We’ve just got to win the' war, haven't we? But it’s pretty hard on the Benjamins.” ' The boy rose to his feet, straightening! his sagging shoulders. He still held the small, friendly hand, so perforce she rose with, him and stood, looking up, very far up, for he w'as so very tall. “Listen, little comrade!” Bobbie said.l with a queer, shamed smile. “I’m not! supposed to be here, but I thought I couldn’t go on at the camp. Now I’m' going back and try' it again. You’ve made me feel as if I could somehow.” His tone seemed to beg her to under- stand. “Of course,” she soothed him, “of course you can. Your mother knows it and so do I !” “You’re a trump!” His grip on her fingers tightened. “But if you’d — I dont suppose you’d be willing to — to write once in a while, would you ? And sort of keep my courage up, y'ou know ”1 A little silence hovered over them, full of the soft, unheard sound of unsaid' things. Then slowly Genevieve nodded.' “If you’ll write and keep up mine!” shel smiled. He tore a leaf from a notebook,* scribbled an address on it and thrust it into her hands. “It’s a bargain,” he said, “and dont tell any one I was here. It' might get me in bad. Good-by, little comrade! Good-by' till the next time!”. “Good-by, Benjamin!” He was gone, a tall, lean, shadow- 1 figure vanishing among the other shad-| ows. Standing stock-still where he had i; left her, Genevieve reached up and felt I her cheek tentatively. “I believe,” she | (Sixty -eight) L 1 CLASSIC old the moon astonishedly, “why, I do jelieve— he kist me !” Up in the heavens the wise old moon ^ave a cosmic chuckle and hid his aughter in a cloud. S “Some one,” announced Farmer Hub- bard, severely, the next morning, “some bne of you — I dont know who and I’m lot instituting any guessing contest — vas seen by one o’ my busy-face neigh- bors talking with a feller in uniform •pretty nigh midnight last night in the !>outh field.” His eyes rested shrewdly jin the confessing crimson of the face .rnder the jaunty satin tarn. “Now, ‘God knows I warn’t cut out to chapyrone a ^oung ladies’ seminary. So all I got to say is if it happens again I’m a-going to itake steps to find out for sure which i^el it is !” Genevieve Rutherford Hale glanced jlimidly about the circle of averted faces [and her small chin went up proudly. i'Let them suppose what they were low enough to suppose. She marched away from the whispering group, carrying her hoe over one silken shoulder martially. ! But in the lonely days that followed it |;took all her new-found courage to meet their silent hostility. Bertha Bicknell [alone was kind to her in a gruff and un- willing fashion, but the others were |fr£tf¥kly resentful of her presence, altho I they could no longer find fault with her work. She fed chickens, milked cows, weeded, pitched hay without a murmur, a color- •ful, resolute little figpire in her exotic costumes. But at night she was never ■too tired to brush her hair and do it up in curlers, and cold-cream her face and hands. Consequently, while the rest of [the farmerettes displayed wispy, uncared for locks and complexions the hue and texture of old leather, Genevieve was as pink and white and dainty as a Harrison Fisher poster girl. And this, too, they laid against her. It was on the downhill side of sum- mer when Genevieve, looking up from 'her task one afternoon, saw Farmer Hubbard striding toward her with thun- derous brow, an unopened' letter in his hand. She took it, the swift, telltale color racing to her temples as she saw the handwriting. “How long. Miss,” grated the farmer, “has my son Bobbie been writing to you ?” She met his angry gaze steadily, with- out replying. Her silence nagged him into cruelty. “You never knowed him before you come here, so you must have iWritten him first ! There’s a special name for your kind o’ a girl — the bold, forward kind that goes round picking up strange young men !” ■ He wheeled on his heel and strode away, muttering. With flashing eyes, Genevieve watched the broad, stubborn iback disappear. “I’ll go home !” she icried. “I’ll leave this dreadful place — ithese hateful people ” Then her glance fell on the letter in her hand and she paused. “No !” she Isaid at last, “no, I wont run away. I’ll I {Sixty-nine) stay — and fight a little private war right ] here. I promised him I’d stick and I , will !” ■ Over their breakfast of ham and eggs ; the farmerettes the next morning were frankly jubilant. j “That was a great idea of yours, Bert, I taking her clothes!” tittered the freckled j girl. “She’ll never put on the' overalls you left her, and we’ll be rid of her.” j • A rustle in the doorway drew their j eyes to the radiant vision framed therein — a vision with becomingly waved and arranged red-gold curls above a • smock of soft white silk, hand-stencilled and laced with a dull blue cord the exact shade of the wide eyes that blazed above its jaunty bow. It was apparent to all of them that this was a new Genevieve . Rutherford Flale, a defiant Genevieve, confident, assertive, belligerent. “You overlooked this suit in the closet,” she said, calmly, “and if you dont give back the others I will have you arrested! You cant bully me into going away. 1 enlisted for the summer, and I’m going to stay !” She gazed about at them almost — yes —actually pityingly. “You poor, homely ; things!” she said, gently. “You dont ' serve your country one bit better by being so homely — it makes a person’s eyes ache to look at you !” Across the lawn toward the grape arbor came two figures. Still speechless,, the farmerettes watched Mr. Hubbard hold out his hand to Genevieve. “Bob- bie here has told me all you did for him,” he said, awkwardly. “I — I reckon I was wrong. I reckon we’ve all been wrong froni the beginning It was his apolog>', and she recognized it as such, but before she could answer, the other newcomer pushed by the older man and caught her two hands in his own. Big and bronzed and gallant in his uniform, Bobbie Hubbard stood gazing down at the slim, daintj^ love- liness of her with his heart glowing in his honest boy-eyes. Seeing which, the farmer and the farmerettes stole away and left them. In the dormitory, they regarded each other’s unadornment furtively. The freckled girl was the first to break the silence. Frowning, she turned away from the unflattering mirror. “Did you see the way he looked at her?” she queried. Then, thoughtfully, “I dont suppose any of you have got a pair of curling-tongs that I could borrow.” The Silent Star of the Silent Drama {Continued from page 38) which was serving as a seat, determined i to fathom these mystic forces. Ah, there it was — the first ray ! I began to i suspect that the psychic waves which passed between director and the wonder- woman had their origin in the tapping of the former’s foot ! t Later, I learnt the whole story of this remarkable system of directing. Mrs. . Anne Sullivan Macy, Miss Keller’s fa- ; .Sharp winds that cut the face and wither ) the bloom of beautiful complexions can be;!; j defied with impunity with just a little extra ■; j care. Keep the skin frequently cleansed, purified and refreshed with | I lUGGETToRAMSDELLS ! I PERFECT COLD CREAM j ' T-he. Kin^ Th^t (Its use is the habit of refinement that is also a . daily delight. It preserves the complexion against I wind and weather and allows the .skin to retain a * softness and charm that are irresistibly attractive, f d Tubes and Jars, 10c to $1.50. * I Send a tube to a soldier or •1 sailor. It is a comfort they | ,|l need and will appreciate. M Poudre Amourette: The ultra delicate powder for very dainty people. Looks natural, stays on. IS p Flesh, white, brunette, 50c. Both D. & R. Perfect | ® Cold Cream and Poudre Amourette may be ob- * tained of your dealer or by mail of us. For Him S)efy the\0inds and “leather IThe latest “Perfect” product made only by Daggett & Rapisdell is a shaving cream in which : j we have scientifically incorporated D. & R. Per- :! feet Cold Cream. The first time that a man tries •I this “Perfect” Shaving Cream he will say, “Well,i that’s the best shave I ever had.” He will be as j: enthusiastic over “Perfect” Shaving Cream as ; you are over Perfect Cold Cream. Surprise him ; with a tube. Of your dealer or by mail of us. c Try Both Free. Trial samples of Perfect Cold Cream and I Poudre Amourette sent free on request. Address I ■ DAGGETT & RAMSDELL Dept. 322, D. & R. Building New York T MOTION PICTURE Get It Early $100,000 Free Style Book I do not care how many other fashion books you send for. All I ask is not to for- get mine. It is absolutely free to you. I am not even going to talk about bu5nng now. I want you to have my book because it will give you so many ideas of the beautiful new styles. It will acquaint you with exactly the kind of clothes that will be most worn. Remember, I consider my credit simply as an extra advantage. Don’t ask for my book merely on acconntof that. Get It for the loveliness of it— and its price saviners. If I were in your place, and if I were thinking of buying new clothes, I would look everywhere Itonly takes a postage stamp to get my lat* eat style book. Do as you please about ordering when you see it. 11.00 cash Send Only 00 Silk Georgette WAIST, Here is just one bargain from among 1001 shown in my latest style book. I bring it to you as an example of my styles, my values and the way to order here. Cut Steel Beads Exquisite Hand Embroidery The material Is guaran- teed pure silk georgette crepe of excellent qual- ity. Genuine cut steel beads are worked into a handsom e and attrac- tive design, further beautified \^th stun- ning hand-worked em- broidery — not machine made. Hemstitching at cuffs, down front and aroud neck. Daintily rounded neck is ex- ceptionally good style and cool forsummer wear. Starting from shoulder seams is an extra collar, com- ing down sailor fashion in beck. Close fitting, new style cuffs. Colors: White, flesh, nsvy blue, Belgian blue or taupe gray. Sizes 34 to 44 bast measure — no larger. $1.00 with order. No. U. 4 P. 3470, price prepaid, $4.98 1001 Economy Prize Styles Y ou Pay About as Y ou Please With my style book will come a credit certificate, opening your account. When you get ready to buy, simply tell me what to send. If satisfied, you spread the cost over several months— paying me about as you please. I regard my credit simply as an extra advantage that women enjoy here. I offer it, because it allows women of moderate means to buy from me in the most agreeable and pleasant manner. You will enjoy wearing new things early in the season and paying as you get use and pleasure from them. 1 Am Especially Proud of My Approval Plan I would never dream of asking you to run any risk in ordering from me. I send things on ap- eroval, right into your home. I rive you plenty of time > try them on, to compue them andto reach a decision. If you are not perfectly pleased, you return your selections, and I pay the postage back. My free trial can never cost you a penny. Why 1 Know Bargains — Where to Get Them I was virtually brought up in the ladies’ wearing apparel business— first as a style expert; then as a buyer. I bectime acquainted with all the famous designers who create styles. 1 know them now as old friends. I got to know Mills and Makers everywhere. I learned where to secure the best bargains. In my present business. I deal in such enormous quantities, that when 1 go into the market I almost dictate prices. The proof of all this is in the prices my style book quotes. When yon see it, you will be amazed at the values shown here. Every Question of Style Answered in My New Book Iknow howwomen pore over fashion magazines to get new ideas about dress. They naturally want to knowinadvanceoftheseason, what willbe worn. With me, of course, all this is day in and day out business. You will learn from my new book whether skirts will be short or long, and what the widths will be. You will get first hand information about the 6eason*B colors and fabrics; the newest ideas in trimminffs and the latest tendondes in blouses and other articles of dress. Every question about footwear will be set- tled. You are naturally asking yourself if the govern- ment resrulations have been withdrawn. Let my style book tell you all about these things. Send for it as a fashion guide, if nothing more. Think about buying later. DEPARTMENTS — Suits, coata, dreaiea, waists, skirts, hats, ahoea, lingerie, underwear, children’s wear, etc., and 300 kinds of piece goods. MARTHA LANE ADAMS. 3681 Mosprat St., CHICAGO THERE’S ONLY ONE H WAY TO SECURE H A SATIN SKIN ■ APPLY SATIN SKIN CREANI, THEN SATIN SKIN POWDER. ■■ yo«r So«|-P6#fo* NOW tor froe •EAfnirution I rovlM poonu, compoM muue of any 4«»crip(iofi. * J ur* copyrifht ond omploy orifin«l Mtbodt A hciliUtin, FREE PUBUCATION or right SALE of Eong* uadtr a ^ copy of our tifieoU GUARANTEE. .. Booklet which ... •K telli you who we ere, ex* G you •auifoc. ^ pleine our methode Olid coo* pH. B B tolne veiueblo information and i Iflelruetiooi. Thii U your opporl* Cm ooity to leer* the truth regerdmg lh« Soog* I a wrltinf profeuion from « roKoMe end tucccwful coMom. KL>^'**‘maCERPOaCER STUDIOS. 7^ Gaiety Bldi . N. Y. City. You Have a Beautiful Face BUT YOUR NOSE? IN this day and age attention 'to your appearance is an absolute necessity if you expect to make the most out of life. Not only should you wish to appear as attractive as possible for your own self-satisfaction, which is alone well worth your efforts, but you will find the world in general judging you greatly, if not wholly, by your “looks.” therefore it pays to “look your best*’ at all times. PER- MIT NO ONE TO SEE YOU LOOKING OTHERWISE; it will injure your wel- fare! Upon the impression you constantly make rests the failure or success of your life. Which is to be your ultimate destiny? My new nose-shaper “Trados” (Model 24) corrects now ill-shaped noses without operation quickly, safely and per- manently. Is pleasant and does not interfere with one’s daily occupation, being worn at night. Write today for free booklet, which tells you how to correct Ill-Shaded Noses without cost if not satisfactory. M. TRILETY, Face Specialist. 1039 Ackerman Bldg., Binghamton, N. Y.: muus instructor, describes the scene to her by means of their touch language, thus: “Helen, you are seated at the piano in a richly furnished music-room,!' and when the director taps his foot once,- ! you run your fingers lightly over thef-' keys, showing how much you enjoy the 1 harmonies. When he taps twice, you ■ leave the piano and walk toward the' ; door and, with the next tap, you greet; the friends who are arriving for your musicale.” She then goes thru one re-.- hearsal to learn the location of the fur- niture and is then ready for the motion picture camera. It moves along without a break, for,^ despite the seeming cross currents of many noises. Miss Keller unerringly dis- , tinguishes the footsteps of the director,' > which reach her thru vibration, a sort of ,^' wireless, by which he directs her move-! f ments. ! \ In another' scene, she visits a hospital V ward to speak cheering words to the sick i soldiers. Going to one of the beds and . , placing her fingers on the soldier’s lips, ^ she asks how he was wounded. There is a world of sweet compassion on her,_ face, and as he answers her question,', her varying expressions distinctly regis-;. ters his story. George Foster Platt, who is directing*, this unique production, is deeply inter- ested in developing this unprecedented!! method. At first it was thought that it*! would be necessary to establish an trical device by which they could com-ji municate with Miss Keller while on thej^l “set,” but it was soon found that this ' would not be needed, as her finely at- | tuned senses could be easily reached by the simple method of foot-tapping. When I asked Miss Keller why she was making a picture, she said : “My answer is brief — because I want to reach the masses ! I believe I have a message B to deliver to all humanity, and the mo- tion picture is the only way to reach them. It speaks the universal language. || It is life, it is humanity. It is the great- est force in modern civilization. I shall j never see my own picture, my eyes can never behold the results of my work. My ears can never hear the exclamations of the people as they look on my picture, but j I shall be happy if it makes them hap- pier— if it gives them hope and courage | to fight their battles for existence. I love humanity, it loves pictures, there- fore I love them.” So into that world apart in which she i lives, she recognizes the full significance )f her work and, indeed, it seems as if this were the crowning effort of a full ind profitable life. It was Mark Twain who once said, j “The two greatest people are Napoleon, y who conquered the military world, and vi Helen Keller, who, conquering the spir-4 j itual world, returned to conquer the ' material !” Surely the “silent drama” will speak ri as never before as the lofty thoughts of this marvelous woman are registered on the screen to carry her inspiring message to all hearts ! (Seventif) CLASSIC Caught in Dressing-Room No. 10 {Continued from page 49) thinking. I dont want to be Harry Morey in any part that I play in a pic- ture. After all, the great mass of pic- ture-goers come to see a play. If the play is acted by good stars and supports, so much the better, but the play cant succeed if an actor substitutes his own personality for the character that’s been created by the author of the play. Take ‘Within the Law,’ for example. You may remember that I played the part of Joe Garson in that picture, and I tried to be Joe Garson, and did my utmost to keep Harry Morey out of the story. The personality of Harry Morey had no place in ‘Within the Law.’ If it had been permitted to creep in, it would have spoiled the picture for the spectators, : because they were interested in Joe ; Garson. “And, along the same line, if they i were to find that Joe Garson in ‘Within the Law’ was exactly the same kind of a fellow as the other parts that I have played, Joe Garson would not be worthy ; of their interest. I “It all comes down to this. Each pho- i toplay necessarily deals with a different j; character. If all the characters were I alike, there would be no interest in mov- I ing pictures. If an actor permits his ii characterizations all to be the same, it !! amounts to the same thing. Every one “ of his pictures shows the same character, !l with a different name and perhaps a j| little change in make-up, but they are I all the same. “Playing character leads, if . you are |, willing to study your characterizations } and make them live, is the very finest kind of work. I’d a whole lot rather do character leads than the conventional I heroes, because the poor hero in the or- 1! dinary dress-suit picture can go so far and no farther. His work is cut out and laid down for him. He is surrounded by etiquette and convention, and he has got ' to be nice and set a good example, and all that sort of thing. “Cant you see how much more fun I get by playing a river pirate in one pic- ture, an African diamond miner in another, a roughneck longshoreman in a third, and so on? “And what I said to you a few min- utes ago about the importance of the play goes strong for me. Fortunately, we have come to that point in motion picture work where good production is a matter of course. Photography, set- tings, locations, lighting, all of the things i that make up the artistic and technical side of photoplay work must be of the highest type in any kind of a picture. We take that for granted and it is nothing to brag about any more. The 1 same thing holds good for the acting. 1 We take it for granted that the stars fit the roles which they play and that the supfwrting players are first-rate in every particular. I “It all comes down, then, to the play ; itself. A good story, logical, with plenty (Seventy-one) of drama, holding the interest to the end, is the thing that counts, and you see how a play will be spoiled if an actor .steps out of a play and becomes himself in-'“ stead of sticking right to the business of being the man in the story. So we are right back where we started in our talk.’’ Once again Morey’s eyes traveled around his well-loved dressing-room. “Yes, sir, this little old room was the scene of many happy days.’’ Then I said to myself, “Here’s where we get some more inside stuff.” But , the door popped open and in came Paul Scardon, Morey’s director. “Ready, Harry,” said Scardon, and my precious interview was over. I trailed along to the set and watched Morey work, hanging on in the hope that I could get the big fellow to talk some more, but Morey was gone. In his place was a creature of the underworld, a thug and a gunman, if ever there was one. I was afraid that if I dared to intrude the little business of my interview, the per- sonality of Morey might not return in time to save me from rough usage at the hands of the gangster. Anyhow, I had made him talk, even if he would not say much about himself. I had been given the privilege of being in No. 10 — there’s scarcely a greater privi- lege at Vitagraph — and I had seen him change from Morey, the big, good- hearted, kindly fellow, to the kind of a gentleman who can have the whole dark alley to himself any night. A pretty good accomplishment for one day’s effort to get Morey, I figured. The Den of a Modern Villain {Continued from page 23) “Well, I was just wondering whether you would modify that,” laughed Maudie MacDonald. “That’s qvtite a strong statement for a home-loving man to make.” “Just to digress a moment, what do you suppose Maudie wants to do now? Just when we have this place all fixed up and love it so, she’s sorry that it is not in the Spanish style, with a patio and a lot of red peppers hanging on strings and garlic dangling from the drawing-room ceiling and ” “Now, dear, how can you? You see, it’s just the Scotch in Mr. Mac; he hates to pull up stakes. Once he is settled and satisfied, he w'ould just like to anchor for life. I love this place, too, and I’m fond of all this Japanese style, and every piece has fond memories connected with it, for we gathered bits all over the world, but I dont see why we shouldn’t sell the house and some of these things and begin over again. It’s such fun to design and plan a place and its furnishings, and then the Spanish style seems to fit this country so much better. I’ve in mind a lovely spot in the foothills near Glendale, which would be ” t “Maudie, you’d have to change all the Nadine Face Powder (In Green Boxee Only) J| Keeps The Complexion Beautiful Soft and velvety. Money back if not entirely pleased. Nadine is pure and harmless. Adheres until washed off. Prevents sunburn and re- turn of discolorations. A million delighted users prove Its value. Popular tints: Flesh, Pink, Brunette, White. 50c. by toilet counters or mail. Dept. M.C., National Toilet Com- pany, Paris, Tenn., U. S. A. PARKER’S HAIR BALSAM A toilet preparation of merit. Helps to eradicate dandruff. For Restoring Color and Beauty^ to Gray and Faded Hair. 60c. and $1.00 at druggists. Write for Free Book “Howto Become An Artist” By our new method of teaohiriff by mall you can learn illustrating, cartooning, commercial art in your own home. Hundreds of succjessful students and graduates are now making splendid Incomes. Get into this fascinating work yourself and earn $50 to $100 or more a week! Our metlxod makes it easy for anyone to learn. Instructions given by Will H. Chandlee, artist with over 30 years’ ex- perience. The study Is fascinating. Only a few minutes a dayl Have your own studio or secure high salaried l>osltion. Or work in spare time. Manj’ students earn while they are learning 1 $100 for One Drawing Many artistls receive $100 to $1000 for a single drawing. Magazines and newspapers are always seeking good draw- ings and cartoons. We furnish a complete Outfit free to all students. IiicludCvS everything reQuired to produce hun- dreds of dollars' worth of pict'ures. Write Today for the most remarkable offer ever made by any recog- nized and reputable school of art. Si>ecial terms to a limited number of new students and complete Artist's Drawing Outfit given Free. Fill out end mall the attached coupon or write a postal and we will send you. at once, a l>eautiful Booklet, “How to Be- come an Artist," filled with drawings and full particulars of our extraordlnarj' offer. Do it now — before you forget. WASHINGTON SCHOOL OF ART, Inc 1143 H St.,N.W. Washington . D. C. COUPON WASHINGTON SCHOOL OF ART. Inc. ll43HSL,N.W.,WuhlnKton. O.C. ' Without any obligation on my part, please send me your Free Art Booklet and Special Free Drawing Out- fit Offer with reduced terms to new sfudentn. Address. Buy an Income Month by Month Opportunities for an Unusually High Return are numerous in the present market. Money invested in listed dividend- paying securities now will earn substantially more than if invested later at the higher prices which should follow settled con- ditions. Under The Ten Payment Plan you may invest sums as small as $50 a month in the securities of the most prosperous industrial cor- porations and get the benefit of all dividends paid during period of payment. Send for free list of securities yielding 8% to 14%. Also a copy of “The Ten Payment Plan” booklet. Write for special list P-3. E. M. Fuller & Co. Members of Consolidated Stock Elzchange of N.^'. 50 Broad Street New York dogs to go with the hacienda. Imagine Chin Chin and Chang lying on a cold stone patio, instead of on our very best hand-embroidered cushions. Brr !” shiv- ered Mr. IMacDonald as he turned to an- other cheese-scone and allowed his dinner to be spoiled by a second cup of fragrant orange Pekoe. "Have you ever acted together?” we asked, surveying the gorgeous blue rugs on the drawing-room floor, the endless array of handsome lamps and the glimpses of rare Chinese and Japanese hangings over the upper hall rail. “Oh, yes, we were on the Orpheum cir- cuit together for a long time. Then I had an opportunity to go with Selig, and I had a delightful time directing at the American Film Company during the famous old days when Warren Kerrigan, Jack Richardson, Margarita Fisher, Calamity Ann and others who are now stars were all working in one stock com- pany. I directed and acted for Nestor comedies, too. Later I produced a num- ber of plays for Universal, but after all it's acting I like, for it relieves one of so much responsibility.” “Wouldn’t you like to show your pet rooms, 213. New York, or 8 South Wabash Avenue, EC-213, Chicago ( Seventy-three \ \ A Which Mothers Should Accept Nearly every magazine you read invites you to serve Puffed Grains — for the children’s sake. That is, Puffed Wheat, Puffed Rice and Corn Puffs — all bubble grains, flavory and flaky. And it pictures ways of serving which millions now enjoy. 500 Million Dishes Last year mothers served in these ways over 500 million dishes. And these three Puffed Grains have become the favorite grain dainties. Millions of children are getting whole wheat with every food cell exploded — whole wheat made wholly digestible. They are getting whole rice puffed to flimsy, airy morsels, eight times normal size. They are getting corn hearts puffed in like way — delightful food confections. They are getting all these grains fitted for digestion as they never were before. All are steam-exploded — all are shot from guns. All are prepared by Prof. Anderson’s process to make them hygienic foods. i And all are fragile, flavory tidbits with a taste like toasted nuts. All are the most enticing grain foods in existence. I If you now serve one of them try the other two. Each has its own fascinations. And tr\ serving them in more ways. They are ideal all-hour foods. Puffed Wheat Puffed Rice and Corn Puffs Each 15c Except in Far West The Quaker Oats Company Sole Makers (2092) MC . lON PICTURE CLASSIc| The Sixteenth Curley {Continued from page 35) with her parents not far from the stu- dios, drives her Nash car, plays her banjo- ukulele, sings, teases her pet Pe- kinese, and does unusual impersonations, if you beg her to. She’s a veritable second Elsie Janis or Cissie Loftus. “Do you recall how Harold Lockwood danced and walked ?’’ asked Miss Curley. “Wait, I’ll show you.’’ A perfect imita- tion of the late star followed. “And here’s Marguerite Clark. You know I was with her in several productions; she’s so dear I’d like to copy all she does —if I dared!” _ C Does she want to do anything special? ' Yes, she wants to be a motion picture ' star for a while, and then she hopes against hope that she may be a dancing comedienne in a very beautiful comic opera. So she hopes that after she is twenty she will realize her dream. But, meantime, she’s just in reality a little girl who is very obedient to a charming mother, a chaperoned little girl who never goes out anywhere alone. The Quest of the (Me) Grail {Continued from page 37) Much is zvithin him. He has seen With open heart and kindly, patient eye Pain in his home, suffering made sacro- sanct, has felt The need of turning crepe to carnival. His youth Is not a shallow thing, nor yet his Art Built for applause. His fellow-workers love him, and that means Riches zvithin. And withal, his Greek-god contour. His black hair — his eyes — he has ’twould seem A power there to stain The world with tears, or color it With laughter. And I thought This Age is not so arid after all — \ are still quests Possible of a replete fulfillment — Still a (Me) Grail More possible of a complete Achievement. The New Studio Art {Continued from page 66) Ballin’s dead body — the “simple” hall ( arose. It was wainscoted and paneled, ^ from end to end, very thoroly. It had a i pair of stairs with a balustrade of turned i and twisted wood that would have de- ' lighted good Queen Victoria. And when i the director got to the bottom of it he put \ the crowning touch of his “simplicity” on top of the newel post. It was a brass chandelier in the image of William Shakespeare or some other leading light. . Various officials of the new company : gazed at it, studied it, reflected on it. And Ballin’s battle was won. ^ There was no more director’s “sim- plicity” in Goldwyn. Ballin got a large i order for the genuine article. ( Seventy-four) A AAAAIA ArAA'Al AAAlAAiJ.A AA.nXUiAmi^iriAAi AA/H A 1771 a'aTiAAA A A AA A A Jl A A A ATA AAAiAli im k A A A AUUAA^AAAA^A.^AAi.4iA>A4AAAAAi; raiiJLklkJLKX A A A A A A A AflTX AA AAA£ Prize Contest Can You Tell These Stars by Their Eyes? Above you see the photographs of the eyes of six of the many famous motion picture beauties who endorse and use Ingram’s Milkweed Cream and whose names are listed below in the coupon. These pictures were taken from portraits used in our advertising during the past year. Your problem is to identify the actress by her eyes. First, note the number opposite each photograph. Then, when you have decided upon your guess as to the actress, write the number opposite the proper name in the coupon and forward the coupon to us. If you guess correctly the names of iniee of the actresses we will forward to you, without charge, charming Guest Room Package. F^ill Out and Mail This Coupon ItifftSctifs Mim^cd Ct^atn and Other Ingram Toilet Requisites What the Gift You Win Contains Our Guest Room Package contains Ingram’s Face Powder and Rouge in novel purse packets, and Milk- weed Cream, Zodenta Tooth Powder, and Ingram’s Perfume in Guest Room sizes. It is a very attractive and conveniently useful gift, and one that will intro- duce you properly to Ingram Quality. Mail coupon to FREDERICK F. INGRAM COMPANY Established 1885 Windsor, Ontario 83 Tenth St., Detroit, Mich., U. S. A. Australasian Agents, T. W. Cotton, Pty. Ltd., Melbourne Australia FREDERICK F. INGRAM CO. 83 Tenth St., Detroit, Mich. I have marked my guesses by number in this list of Ingram stars of 1918. If 1 am correct in three of the SIX guesses please send me the Guest Room Package FREE. (137) May Allison . Ethel Clayton . Marguerite Clayton Alice Brady . Olive Thomas . Hazel Daly . Constance Talmadge . Corlnne Griffith . Louise Lovely . Doris Kenyon . Juanita Hansen . Mabel Normand . Norma Talmadge . Ruth Roland . Nance O’Neil . Virginia Valli . Mollie King . Shirley Mason . Louise Huff "Name^ Address- (Seventy-five) TryyYYYyVYVVyYYVVYTYTy77YVY7YYVVY'YyYyYVYVYYtfVVTVVYVVVVYVV7T77yyvyyY7mTyYVVyy77^W I I I I Every Woman of Refinement must remove the hair from her underarms, to wear the smart, sheer fabrics modestly. X- Bazin, the famous French depilatory, the comfortable, clean way, dissolves hair in five minutes, just as soap and water dissolve soot. The repeated use of this preparation reduces the growth and vitality of the hair instead of stimulating it. SOc and $r.oo at drug and department stores, or we will mail direct on receipt of price, and $1.50 in Canada. HALL & RUCKEL, Inc. 220 Washington Street, New York The Famous French Depilatory DECORATE YOUR ROOM OR DEN ' |H& With Portraits of Your Favorite | ^ ■ vSB I ; Picture Players I r ; i Nothing could be more appropriate for jf: j . the room or den of motion picture en- [ ^ j ' ' thusiasts than attractive lifelike pictures ji® -T ! : of those players whom you admire and .[t . t M ove. The group of eighty portraits which we are now offering free with a year’s subscription are just what you need for this purpose. They are printed in rich, warm sepia tones by the famous rotogravure process — jusl the right size for framing and room decoration. THESE PORTRAITS NOT FOR SALE These can only be obtained with a year’s subscription to the Magazine or Classic. Our supply is now nearly exhausted, so Don’t Delay, but Send Your Order at Once. Just fill out, cut off and mail the attached coupon with necessary remittance. Frances Nelson Marguerite Courtot Ruth Roland Annette Keliermann Frltzl Brunette ^ Mary Miles MInter % Pearl White % Orml Hawley \ Edwin August • V Kitty Gordon ^ V Blanche Sweet * ■ Anita King % Wallace Reid ■* % \ Ms® Murray \ Mary Fuller o ^ \ Jane Grey Jackie Saunders Virginia Pearson Kathlyn Williams King Baggoi Henry B. Walthall Charles Chaplin Beatriz Michelena Earle Williams Frank Morgan Huntley Gordon Anita Stewart Lillian Walke.* Leah Baird Dorothy KeMy Lucille Lee Stewart Charles Rlcbman Jewell Hunt Alice Joyce Peggy Hyland Alice Brady Fannie Ward Cleo RIdgely Marie Doro Vivian Martin Dustin Farnum Myrtle Stedman Lenore Ulrich Edna Goodrich Mary Pickford Marguerite Clark Pauline Frederick John Barrymore Owen Moore Virginia Norden Theda Bara Bessie Eyton J. Warren Kerrigan Edna Mayo Helen Holmes Clara Kimball Young Lillian Gish Mabel Normand Dorothy Gish Bessie Barriscale Norma Talmadge Douglas Fairbanks Mae Busch William S. Hart Louise Glaum Fay TIncher Billie Burke Viola Dana May Allison Beverly Bayne Francis X. Bushman Harold Lockwood Mme. Petrova Vain Vain Mrs. Sidney Drew Sidney Drew Ethel Clayton Carlyle Blackwell Mollie King Muriel Ostriche Subscription Prices V. S. Cat $2.00 $2. 2.00 2. 3.50 4. Magazine Classic . . . Both M. P. PUBLISHING CO. 175 Duf field Street Brooklyn, N. Y. 1 Ml, JN picture CLASSlt ' \ The Celluloid Critic {Continued from page 45) (Artcraft). At heart it is the old Griffit' chase. It reveals just one thing new, a sort o dealized close-up — with hazy, dreamy out lines, singularly suited to Lillian Gish, wh plays the heroine. Her role is a sort of tom boy character, to which this particular Gish, t our way of thinking, isn’t suited. Please, Mi Griffith, let Dorothy do the comedy of the Gis family and leave Lillian a dream idyll. W liked Bobby Harron as the regenerated Ameri can. Griffith, by the way, has endeavored t: duplicate his Monsieur Cuckoo of “Hearts o the World’’ with an almost similar charactei the stolid, humorous, garlic-eating Mons. 1 Bebe. But there is a vast difference betwee Robert Anderson’s Cuckoo and David Butlefi Le Bebe. One is spontaneous, the othe imitation. We are genuinely sorry that Allen Holubafi “The Heart of Humanity,’’ (Universal), stai ring the vivid Dorothy Phillips, arrived afte the end of the war, because it deserves it measure of success, and we fear that nobod wants war drama now. With all its palpabl imitation, “The Heart of Humanity” stamp Holubar as a director of promise. For it i reminiscent, in handling and flashes of stor of Griffith’s “Hearts of the World,” De Mille’ “When I Come Back to You” and even Chap lin’s “Shoulder Arms.” Oddly, Holubar ha done a whole lot of these imitation thing better than the originals. We went to see “Th Heart of Humanity” at a private midnigt showing, intending to remain but a short timi And we stayed until the final scene at aboi 2 A. M. Briefly, it is the tale of four brothers wh join the allied forces from the wilds c Canada. One has just married, and much c the story deals with her experiences “ovf there” as a nurse and her rescue from ^ Huns by her husband. Robert Andersoi Griffith’s M. Cuckoo, plays one of the brother a somewhat similar character, and stands oi strongly. We are not particularly intereste anywhere with William Stowell as the hen but Erich von Stroheim’s handling of the ui scrupulous German deserves its meed of prais And Miss Phillips ! Here is an actress c singular vividness. Her fight with a brut: Hun officer and her sudden loss of mind ai done in a mighty strong way, flashing to a bi height for a second. “The Heart of Wetona,” (Select), marl the return of Norma Talmadge to somethir of her old dramatic form. This melodrama ( George Scarborough, in which Lenore Ulr appeared behind the footlights, is very w( done for the screen by Sydney Frankh There are outdoor Western shots that mal one feel like taking a taxi to Grand Centr Station. There is nothing namby-pamby about M Scarborough’s melodramatic story. Weton daughter of a white mother and a redsk father, has been betrayed by a man of h mother’s race. She refuses to tell the mar name to her father and, instead, seeks refuii with a kindly Indian agent, Hardin. The agei in order to protect her from her tribe, himsc marries Wetona, of course, intending divorce her later, so that she may wed the m; of her heart. But this man proves himself cad and Wetona comes to know the meanii of real love — for Hardin. Miss Talmadge’s playing of Wetona lac the listless unspontaneity of her recent sere performances. Miss Talmadge makes a d cidedly interesting Wetona. Gladden Jam' is an ideal choice as Tony Wells, the weakliv who almost ruins Wetona’s life, but Thom Meighan seems stodgy and heavy as Hard' to our way of thinking. “The Heart of W tona” will hold your interest. But why the stumbling English from W tona — in the subtitles? Wetona had been college in the East. “Branding Broadway,” (Artcraft), is o favorite William S. Hart photoplay of ma months. For Hart isn’t just a vengeful co boy, knotting the muscles of his neck in 1 tense ire, but a Westerner with a sense humor. And Hart plays the man delightful ( Seventy -sis) wruHtS'i tronger, Clearer ^ Voice for /$ You! x/ AWONDEHFUL new per- fume was created a few weeka a?o. It is unlike any other perfume In the world. Subtle^ equisite, euch an odoc as one expects to find in the dreamy, romantic gardens of old Spam- it ia called Alcazar It Is one of the great Rieger line of Flower Drops Perfume. An ounce bottle costs batS2. 00. A four ounce bottle of Alcazai A four ounce bottle of Alcazar toilet watercost8$2.00. Atrial bottle of the perfume will bo Benttoyoofor20c. Wrltenow* Paul Rieerer 252 Ist St.. San Francisco. Cal Weak- 'ness.huski- ness and harsh- nessbanished.Your voice given a wonder- ful stren^h, a wider range, an amazing clearness. This done by the Feuchtinger Method, endorsed by lead- ing European musicians, actors and speakers. Use it in your own home. Simple, silent exercises taken a few minutes daily impart vigor to the vocal organs and give a surprising quality to the tones. Send for the facts and proofs. Do YOU Stammer? The famous Perfect Voice Institute Method is invaluable to those who stammer or lisp. A special course of training for those with an impediment in their speech has been prepared by a famous European director. It will give you command of mus- cles and cords which reproduce vocal sounds. You should not hesi- tate for one minute to secure this valuable training. It will give you the self-confidence so necessary to your business and social success. Write at once for special offer. WRITE Send the coupon and get our free book and literature. We will tell you just what this method is, how it is used and what it will do for you. No matter how hopeless your case may seem, the Feuchtinger Method will improve your voice 800^. No obligation on you if you ask for this in- ‘ formation. Just mail coupon, I Perfect Voice Institute b Studio 1552 -1772 WUson Ave., CHICAGO H- 1 jfe^end me the book and facts about the Feucht- fe;r Method. I have put X opposite subject IE: interests me most. . Singing □ Speaking □ Stammering □ Lisping with a score of subtle humorous shadings. Driven out of a Western town by the reform element, Robert Sands heads to New York. There he is engaged by a millionaire as a sort of guard for his harem-scarem son. Sands Ends adventure a-plenty, besides a beauteous young woman who runs a lunchroom. Mr. Hart should thank C. Gardner Sullivan for this story, slight as it is. Three or four others along new lines will lift Hart out of his celluloid rut. And, If Hart’s sense of humor will surprise you, what about the blase Wallie Reed dis- playing one? And he surely does in “Too Many Millions,” (Paramount), the comedy of a book-agent who inherits forty millions — or is it fifty? The story is pretty tenuous, but Reed is likeable. “A Lady’s Name,” (Select), Constance Tal- madge’s latest comedy, based on a Cyril Har- court stage play, seems labored, to our simple way of considering screen fare. It’s the story of a young woman, an authoress, who adver- tises for a husband in order to get ideas for a novel. _ She gets the ideas — and a real hus- band in the person of Harrison Ford. Ford, as usual, acts well, but he should change his tailor. Constance is piquant where it is pos- sible to be, but “A Lady’s Name” is quite un- spontaneous. Walter Edwards has utilized close-ups until the whole thing seems to be one face after another. Close-ups slow up a farce seriously, except where facial byplay is necessary. Here Edwards tries to make byplay take the place of play. Since Maurice Tourneur turned her vehicles into picture poems, Elsie Ferguson hasn’t filmed so beautifully as in “Under the Green- wood Tree,” (Artcraft), Emile Chautard’s visualization of the old H. V. Esmond’s stage play. “Under the Greenwood Tree” revolves around a well-bred, wealthy young woman with romantic inclinations. She hires a gypsy equipment, poses as one of the wanderers and meets the rich young landowner of the vicinity. Of course, she falls in love, especially after the chap has battered up the whole tribe of gypsies, who have tried to rob her. Chautard has selected a series of singularly beautiful outdoor settings. Indeed, “Under the Greenwood Tree,” if slender dramatically, is an optical joy. Miss Ferguson is, of course, a fascinating heroine. Eugene O’lBrien is the hero. We dare the ire of fans by declaring he is artificial in this role. “Arizona,” (Artcraft), as done by Douglas Fairbanks, isn’t Augustus Thomas’ drama, by any means. The story of the young lieutenant, who allows himself to be forced out of the service rather than tell a secret which will bring the touch of scandal to his colonel’s wife, is distorted to fit the Fairbanks acro- batics. Even so, “Arizona” is more serious than the past dozen or so Fairbanks vehicles. If anything, “Arizona” proves that Fairbanks should stick to satire and let drama alone. “Little Miss Hoover,” (Paramount), Mar- guerite Clark’s newest, seems completely puerile to us. Herein the heroine falls in love with a young stranger who is suspected of being a slacker. She saves him from being tarred and feathered and, lo and behold ! he turns out to be a sort of jitney Hoover, busy investigating things for the Department of Agriculture. Eugene O’Brien is the gentleman in question, and if there is any performance of the month more affected than Mr. O’Brien in “Little Miss Hoover,” it is Mr. O’Brien in “Linder the Greenwood Tree.” Even Miss Clark seems artificial in this piece. “Her Inspiration,” (Metro), has the beau- tiful May Allison — which is quite enough. The story is a combination of the conventional moonshiner drama and the “Seven Keys to Baldpate” idea. Here all sorts of things hap- pen to a young playwright in the Kentucky hills, and then turn out to have been arranged by the chap’s theatrical manager, anxious to provide ideas and atmosphere. Of course, if the manager had all these ideas in the first place, he really needed no playwright. But why pick flaws in the story? The glorious May Allison is in it. And May certainly does rest the eyes. “The Hope Chest,” (Paramount), is Doro- thy Gish’s latest. The Classic has already (Continued on page 83) Don't Be a , Sickly Failure 1 Are you dragging your- self about from day to day, always tired and dispirited; suffering from backache, in- digestion, constipation ; your biliousness showing in your face, your lack of en- ergy in your eyes, your good-for-nothing physical condition in the hang-dog air with which you meet your fellowmen? Have you about given up hope — and has your wife given up all hope — that you will ever get ahead and amount to anything in the world? Pull Yourself Together! Brace up! There’s a way out! You can be a man again. You can be full of life and energy and good health; you can trample under foot the sickly trou- bles that are pulling you down; you can change the watery fluid in your veins to sparkling red blood, that will nourish mind and body, overcome all your ills, and put you at the top of the heap. No matter what brought you to your present condition; no matter how low you have sunk; you can be RE-BUILT into a MAN, with health and strength and men- tal and physical vigor and efficiency. It’s Never Too Late Strongfortism doesn’t know the meaning of the words “too late.” No matter what your age 9r con- dition; no matter how long you have been mired in the slough of despondency or struggling under the handicap of physical irregularities, Strongfortism can make a new man of you. Strongfortism can ira- rove every part of your system; strengthen your eart, lungs, liver, stomach; clear your brain; steady your nerves, rid you of that eternal languid, tired feeling and start you on the path to success. I Can Re-Create Y ou I KNOW that I can make you over, can improve you 100 per cent., because I have helped and am helping thousands of other men — some of them pretty far gone, too, before they took up Strongfortism. I have no pills, powders or patent medicine dope to offer you; no drugs of any kind. EXPERIENCE instead; the solid_ experience of a life-time with my- self and my pupils; the experience and study that have enabled me to dig out and apply to you the secret laws on which human health and happiness and vitality depend. Send for My Free Book “Promotion and Conservation of Health, Strength and Mental Energy” tells you all about Strong- fortism; tells you how you can overcome your mental and physical ailments; how you can strengthen your vital organs; how to attain symmetry of form and figure. It’s forty-eight pages of talk straight from the shoulder, telling how you can get the most pleasure out of life, from a man who knows what he’s talking about. Mark the coupon below, showing what ailments you suffer from and send it with three 2c stamps to cover mailing expenses and I will send you the book free. LIONEL STRONGFORT Physical and Health Specialist 760 Park Building NEWARK, N. J. CUT OUT AND MAiL THiS COUPON Mr. Lionel Strongfort, Newark, N. J. Dear Strongfort: — Please send me your book, “Pro- motion and Conservation of Health, Strength and Mental Energy,” for postage of which I enclose 6 cents in stamps to cover mailing expenses. I have marked (X) before the subject in which I am interested. (760) .Colds • .Insomnia . ..Rheumatian .Catarrh . .Heartweakness ..Poor Circulation .Astlima . .Short Wind ..Youthful Errors .Obesity . .Flat Feet . .Impotency .Headache ..Constipation ' . .Vital Losses .Thinness . .Biliousness . . Skin Disorders .Rupture . .Torpid Liver . . Despondency .Neuritis . .Indigestion . .Round Shoulders .Neuralgia . .Nervousness . .Lung Troubles .Flat Chest .Deformity . . Poor Memory ..Increased Height Name Street City State Age Occupation WTHTE PLAINLY STRONGFORT The Perfect Man This department is for information of general interest only. Those who desire answers by mail, or - a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address \ ; all inquiries to The Answer Man, using separate sheets for matters intended for other departments of i i this magazine. Each inquiry must contain the correct name and address of the inquirer at the end of the letter, which will not be printed. At the top of the letter write the name you wish to appear. Those desiring immediate replies or information requiring research, should enclose additional stamp or • other small fee; otherwise all inquiries must await their turn. 1 from using Boncilla Beautifier! No woman desirous of a beautiful skin should ever he without this perfect toilet requisite. — Ethel Clayton. A Radiant Complexion for You A skin so fair that to touch it is “eternity in the brush of a bee’s wing” can be yours if you follow the method employed by famous beauties who know the secret. BONCILLA BEAUTIFIER lifts out the lines and closes enlarged pores. When removed, black- heads are removed. The complexion is radiantly clear, free from lines and soft as velvet. Immediately on application you will feel the gentle pat, pat, the lifting, smoothing sensation that assures you that it is starting its good work of youthful restoration of the skin. If your dealer cannot supply you, send $1.00 for full-size jar. Money back if not satisfied. You take no chances — run no risks. Send at once. Send 12c Additional for Dainty Beauty Box | i Charming Beauty Box containing samples of fam- j \ ous Boncilla Cold Cream, Boncilla Vanishing ; ! Cream and Boncilla Face Powder. ] The Crown Chemical Company Dept. 643, Indianapolis, Indiana A fascinating profession that pays big. Would you like to know if you are adapted to this work? Send 10c. for our Twelve-Hour Talent Tester or Key to Movie Acting Aptitude and find whether or not you are suited to take up Movie Acting. Instruc- tive and valuable. Send dime or stamps today. Interesting, Illustrated Booklet on Movie Acting included FRBE! Film Information Burean, Sta. C, Jackson. Mich. Robert T., Spencerport. — Yes, dear friend, I am still smoking. Tobacco is an antiseptic that keeps the heart sweet. However, I have taken to caramels since the war ; they require less sugar than any of the other candies. Pauline Starke was Angele, and Walt Whit- man was Anthony in “Daughter Angele.” Mrs. J. W. — I have handed your letter to the Celluloid Critic, and it may convert him. Thanks. A Wild Irish Rose. — You think the man of wisdom is the man of years. Well, that’s me! That Goldwyn was taken at Fort Lee, N. J. No, you take them all. You say where you were not a breeze whispered, not a bird flapped its wings, and it was the triumph of repose. Then I say, let us not abuse the good things of life. Ralph D. G. — I’m sure they were real lob- sters used in the Sennett picture. No, I have never seen a trained lobster — except on Broad- way. Write in for that record. A periscope is an optical instrument enabling a submarine commander to see while traveling under water. They are also used to look over trenches. Ernestine A. D. — So this is your first letter to me. Welcome! Yes, I believe it is quite true that Francis X. Bushman was divorced from his wife and immediately married Bev- erly Bayne. You say, “Oh, what men dare do! What men may do ! What men daily do ! — not knowing what they do !” Agusta Wind. — So it was all about Douglas Fairbanks. You know I have observed this difference between my readers — the men mourn most for what they have lost, the ladies for what they haven’t got. Let not your heart be troubled. Ruth Roland is playing in “Hands Up.” Ulyse B. — That’s right; relatives butt in where devils fear to tread. Some of your questions were out of order. William_ Des- mond in “Hell’s End.” Knowledge is the father of wisdom, so get wise. But a good book is the precious life-blood of a master spirit embalmed and treasured upon purpose to a life beyond life. Books are my best friends, God bless ’em! A Minter & Hayakawa Fan. — Yes, E. K. Lincoln is married. Yes, fat men are always funny, but that is not saying that thin men are always solemn. You wouldn’t call me fat, would you? I draw only five feet eight of water in my socks and my gross tonnage is only 165 pounds in the altogether. Bertha B., Jackson. — Yes, indeed, I am fond of my work. The man who likes his job is never a slave to his work. I still have some salt of my youth in me, even tho I am 77. Vera D. — So you call me “Everybody’s Friend.” I want to be and wish I was. You want a double interview of the two Farnums. Good idea, if we can ever get them together. He is a brother. Will look up that fact. Ques- tions of hair and complexion are too deep for a mere man. F. G. L. — Send a stamped, addressed en- velope for a list of film manufacturers. Kath- leen Clifford is now on the stage. If you wish answers by mail, be sure to send a stamped, addressed envelope. Tony A. T. — I said “there is small chancif not “a small chance.” It makes a lot of qt ference. Just read it again. Margery WilsiB and Wallace MacDonald in “Marked CardP William Stowell is with Universal yet — he S the gigantic features. j 1. M._ FOR Pearl. — Glad to hear it. Thant but it is better to be wise than witty. Ycf letter was mighty interesting, and I am alwit^ glad to hear from little girls. As Emer;n says, “Life is not so short but that there s always time for courtesy.” Sammyette.. — ’Ave a ’eart there, my friel I didn’t mean it. You know I like you — along the book like a good dear. I’m soiS Come, let’s make up. IT Donovan W. — So you dont think I am 7^ 77 now. Wait till you see my tombstone, tit will settle it — and me, too. You will probay have a long wait, tho. Why, Francelia Billi:^ ton was with American last. Lillian WallS has her own company — 501 Fifth Avenue, N» York City. | Billy Boy. — Her hair is not cut. ThaB for the tobacco. Of course I’m a man. Violet L. — ’Tis sweet to hear those woi t Yes, I like pimento cheese, and I thank ; very much. What is it? Why, pimento is' | berry of the Euginia pimento, a tree of : Myrtle family, a native of the Caribbee Islar , and also cultivated in the East Indies. ' ; berries have a fragrant odor supposed to I semble a mixture of cloves, cinnamon : 1 nutmeg. Kitten M.— Then you want to aim h" ;. He who only aims at little, will accomplish ‘it little. Try Metro. Effie Shannon played in “Ashes of Love.” Four O. — Aye, aye, sir! You say the cijn boy in “The Immigrant” had a rear-admii^S uniform on. Probably was a bit of hurf. So you like William Desmond as a cowl if. So do 1. Stuyvesant. — James Mason was the broilr in “Border Wireless.” Cant give you the e:jp data just now. Do it now, the same old mTO applies. It’s better to love today than tonr- row. A pleasure postponed is a pleasure n Billie Burke in “The Make Believe Wife.” H. C. N. — So you are fond of history. Is all right for those who like it. It is thoiht by some historians that Alfred the Git started the first English history, called ae English Chronicle. The copy of it is in he British Museum, where there is a fan us jewel, with the words on it, “Alfred had^e made.” I get very little time for history, d- ward Langford in “The Hungry Heart.’™! dont know the color of his hair. Kathife Kirkham was Mrs. Taine in “Eyes of iBe World.” I Dadedeer’s Girl. — Oh, ho! You’re bit Sure thing, write and tell me all about ;or troubles. Peggy Hopkins in “Hick Man it- tan.” Write soon. Silver Spurs. — You say, may the magai cs live as long as our people stand for “I r- seillaise” and that we shall always do. N ir met Niles Welch. But women like to pre^ they are debutantes in the world of love.^jj (Seventy-eight I I z '/ I^ASSIC irhe Extra Girl, Anita and John i' {Continued from page 53) ?| r the purpose of showing you women Slhat they want to come home to.” I ' The audience gasped in mingled relief y id astonishment, r “Our boys’ hearts for months have ;;en hungry for home, and when they ''ime home they must be greeted by jomen and not freaks.” jAnd then old Joe, former Mayor of e town, took matters in hand. ' “Now you women go home and get * to your skirts, and dont forget to vote . ir Abe Jones for Mayor tomorrow.” ' Go home ? We flew ! We walked rtr each other’s feet in our flight. We ' locked down chairs and never stopped ,[i> ask their pardon. We all but sent the Jide of the hall jazzing against the floor. Isauise Huff, as Mary, who kept the J^/oman’s Wear Shop of the town and ho had formerly supplied us with all lie fluffy little doves of domestic peace, tice again became the busiest person in ‘Iwn, for one must have nimble fingers .1 restore the wardrobe of the entire ipulation before “the boys come home,” sipecially when no one knew just exactly 'hen that great day would be. “On the set as soon as you’re in your likening dresses. Mr. Emerson is wait- J|g,” Assistant Jack Kennedy’s voice [junded on the other side of the open roorway, while Mr. Kennedy’s nice blue I ires gazed into space — also on the other ;de of the open doorway. The boys were at home npw, of lurse, and we were flirting more ardu- Usly and a great deal more fearfully ;ian those French girls had ever dreamed f doing. ’ Between scenes I wandered around )ward the camera, and there beside Mr. imerson was sitting a pleasant- faced '.dy of pre-war proportions. “Anita Loos,” I registered mentally tid smiled encouragingly. I have a eculiar knack of smiling at celebrities, irreatness always gives me that self- itisfied feeling, even tho that greatness ^elongs to some one else. The lady re- irned the smile — another one — and then list in back of me I heard a great rush nd sounds of — ; “Well, Nita, did you get here at last ?” “How have you been, old dear?” and milar exclamations of joy. I J turned and beheld a dainty little lady dth large brown eyes that sparkled an nswer to every greeting. It really jemed incredible, but, yes, some of the roup were calling her “Miss Loos,” and len I remembered having seen “her pic- are in the papers,” The acting side of lie screen has certainly lost a star, but ten the firmament is filled with stars, /hile it contains only one meteor that an leave such interesting stories, such lever subtitles in its trail. Miss Loos was soon the center of an dmiring group. The “group,” I must dmit, did most of the chatting and the center” seemed content to have it so. luring the course of the conversation I {Continued on page 85) (Seventy-nine) possible freedom of movement, unhampered ^ace, modest elegance and correct style. That is why — “they all use Delatone” Delatone is an old and well-known scientific preparation, for the quick, safe and certain removal of hairy growths, no matter how thick or stubborn. Beauty specialists recommend Delatone for removal of objectionable hair from face, neck or arms. After application, the skin is clear, firm and hairless. Druggists sell Delatone; or an original 1-oz. Jar will be mailed to any address upon receipt of $1 by THE SHEFFIELD PHARMACAL CO. Dept. HY( 339 South Wabash Ave., Chicago, 111. SHEFFIELD PHAHMACAL CO. .. WaXFOWO BUOQ. CHICAGO 48 Photos of Movie Stars reproduced in half-tone. On card- board, suitable for framing. 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First payment 20 % of purchase price. Balance in equal monthly payments during year. Write to-day for Booklet “M.B." Francis & Co. Investment Securities Cor. Broadway and Wall St., New York City OPPORTUNITY MARKET FEMALE HELP WANTED Women To Sew. Goods Sent Prepaid To Your Door; plain sewing; steady work; no canvassing. Send •tamped envelope for prices paid. Universal Co., Dept. 22, Philadelphia, Pa. Ladies — Fascinating home business tinting postcards, pictures, photos, etc., spare time for profit. $5 on 100; no canvassing; samples 10c (stamps). Particulars free. Artint, 789-G, Station A, Brooklyn, N. Y. WANTED — 5 bright, capable ladies for 1919, to travel, demonstrate and sell dealers. $25.00 to $50.00 per week. Railroad fare paid. Write at once. Goodrich Drug Co., Dept. 16, Omaha, Neb. OLD COINS WANTED ^‘Old Money Wanted,'* $2 to $500 each paid for hun- dreds of coins dated before 1895. Keep all old money. Bend 10c for new illustrated coin value book, size 4x6. You may have coins worth large premiums. Get posted. Clarke Coin Co., Box 155, Le Roy, N. Y. SONG WRITERS WRITE THE WORDS FOR A SONG. If available we will write the music and guarantee publisher’s accept- ance. Send poems on love, victory, or any subject. Fairchild Music Co., Suite 19-M, 203 Broadway, New York. Write the Words for a Song. We write music and guarantee publisher’s acceptance. Submit poems on patriotism, love or any subject. Chester Music Co., 538 So. Dearborn St., Suite 193, Chicago. Write the Words for a Song. We compose music, secure copyright and submit copies to leading pub- lishers. Submit poems now — examination free. Broad- way Studios, 107-C Fitzgerald Bldg., Broadway at 43rd Street, New York. WRITE A SONG — Love, mother, home, childhood, patriotic or any subject. I compose music and guar- antee publication. Send words to-day. Thomas Merlin, 269 Reaper Block, Chicago. PHOTOPLAYWRIGHTS AMBITIOUS WRITERS of photoplays, stories, poems, songs. Send today for new catalog of helpful sugges- tions^ See Here! We want your ideas for photoplays and stories! Criticised free. Sold on commission. Send for guide. MS. Sales Co., Dept 95, Poughkeepsie, N. Y. FREE TO WRITERS — A wonderful little book of money-making hints, suggestions, ideas; the A B C of successful story and movie play writing. Absolutely Free. Send for your copy now. Just address Writers’ Service, Dept. 19, Auburn, N. Y. MOVING PICTURE BUSINESS Mr. Harry LyoDS, of 1 Hyde Park Street, London, England, wishes to get into direct communication with the principals of the rumored combine for purchase of Cinema Theaters, as he has a most important group for sale. Mr. Lyons is the negotiator of a large number of purchases of Theaters, Variety Theaters and sites generally. GAMES AND ENTERTAINMENTS New Patriotic Plays, Recitations, Entertainments for war-time benefits, vaudeville sketches, monologues, drills, tableaux, make-up goods. Large catalog free. T. S. Denison & Co., Dept. 63, Chicago. TOILET REQUISITES HAIR ON FACE, BODY OR UNDER ARMS positively removed with root; no electricity nor poisonous drugs; absolutely harmless and painless: write for particu- lars, or call for free demonstration. Mme, Berthe, Specialist, 12 West 40th St., N. Y. STORIES WANTED Wanted — Stories, articles, poems for new magazine. We pay on acceptance. Handwritten MSS. acceptable. Send MSS. to Woman’s National Magazine, Desk 543, Washington, D. C. Earn $25 Weekly, spare time, writing for newspapers, magazines. Experience unnecessary; details free. Press Syndicate, 661 St. Louis, Mo. PATENTS PATENTS. Write for free illustrated guide book; send model or sketch for free opinion of its patentable nature. Highest references, prompt attention, reason- able terms. Victor J. Evans & Co., 621 9th, Wash- ington, D. C. INVENTORS. Send Sketch and Description of your In- vention for Advice Regarding Patent Protection. Twenty Years’ Experience. Our Hand-book on Patents is sent Free on Request. All communications strictly con- fidential. Write us today. Talbert & Talbert, Patent Lawyers, 4723 Talbert Bldg., Washington, D. C. HELP WANTED Men — Women — Girls Wanted. $95 month. Hundreds U. SL Government Permanent positions obtainable. Write for list. Franklin Institute, Dept. B116, Roches- ter, N. Y. U. S. Government Peace Positions open. Men 16 or over. Women, 18 or over. $90 to $150 month. Work in your home section. Paid vacations. Common edu- cation sufficient. Pull unnecessary. List positions open — free. Write immediately. Franklin Institute, Dept. B116, Rochester, N. Y. Over 10,000 men — women — gprls needed for Government jobs. $90 to $150 month. Paid vacations. No lay- offs. War reconstruction work means many appoint- ments. Common education sufficient. Pull unnecessary. Write immediately for free list positions obtainable. Franklin Institute, Dept. A78, Rochester, N. Y. MISCELLANEOUS $35.00 Profit Nightly. Small capital starts you. Out- fits sold on installments. No experience needed. Our machines are used and endorsed by Government insti- tutions. Catalog free. Atlas Moving Picture Co., 426 Morton Bldg., Chicago. Even simple ideas have a cash value. Experienced film man will facilitate the sale of rough ideas, synopses, and scenarios for budding talent. Write for particu- lars to G. A. Stradere, 309 Broadway, New York City, Suite 807. (An authors’ representative — NOT a school.) Crooked Spines Made Strair'*'^ If you are suffering from any form of spinal trouble you can be relieved — and probably wholly overcome your affliction"” right in your own home without pain or discomfort. A wonderful anatomical appliance has been invented by a man who cured him- self of Spinal Curvature. Its results are marvelous. It is nature’s own method. Eminent physicians are endorsing it. 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We were a good friends, and it was just like goin off on a summer’s spree with the famih You know, every bit of the reels Wc filmed on Louisa Alcott’s homesteai Those scenes you saw in the garden Wc her garden; and altho it involved man difficulties to get the interiors inside hf house, it was accomplished. “Indeed, I liked the work. It migl sound funny, please dont laugh, but on of the things that tickled me most wa the idea of having my hair darkene by mascarra every night and marcel waved every morning by a regular hail dresser. Laurie, I suppose you remerr her, was picturesque because of his thicl black curls — and the directors of th company did not recall that until were set and ready to begin!” Conrad Nagel, like all children, wer to school. But, unlike most youngstei who were fond of the outdoors and leac ers in sports, he cared for his studie: History, English, literature — those wei; his pets. Fortunate pets were those, an fortunate was he to have them, becaus after three years of devotion, at the agi of seventeen, he graduated from Higl land Park College, Des Moines, Iowa. When I asked him about his famil; his face, under the make-up of Ted ii “Forever After,” flushed with pride. “ have a )munger brother, who, some da;i is going to be the greatest comedian, tl greatest musician and the greatest actq in the world.” . He laughed as he coi tinued with his rhapsodies. “Father the dean of the Aborn School of Oper and mother — well, mother is — ju mother, God bless her ! “Is it not simple, then, to understar how my inherent tastes influenced me ' my fidelity to the arts ? Especial| drama. I used to write sketches for tl boys, put them on myself, and, ofte couM not withstand the temptation i act more than one role. Mr. Selw)7ii ‘Fortune Hunter’ came to town one se son, about five years ago, and in betwe< school work I’d manage to skip off to tl theater to play two small parts. “The Lyceum Theater Company, th wonderful organization of amateurs, ht some branches in Des Moines als During vacations I went on the ro! with the Midland and Redpath comp nies as a reader. Now that I look ba' on those days of no sleeping quartei frozen waterpipes and wheatless, swe( less, meatless, heatless programs, I a convinced that I must have loved t” stage and its accoutrements even at tb early date.” And now Nagel is alternating betwc' “Forever After” and playing opposi Alice Brady at old Vitagraph, for t- war is over and Uncle Sam doesn’t nei him. (Eighty)^ it Bargain Out of 8000 Keep the complete outfit and cse it tor thirty days. Set it up aud sleep in it. Treatit just the same as if you owned it. After a month, if yoa wish to return it, no explanations or apologies are necessary. 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Mamnage YorK Sunlight on White Velvet {Continued from page 62) “You believe in marriage?” I queried, brilliantly, knowing the answer already. “I have seen many marital failures,” replied Miss Doro, “but there is some- thing here” — she placed a fragile hand over her heart — “that refuses to lose an ingrained belief in the possibility of ideal marriages.” From marriages we lapsed into a rapid argument over the respective merits of Heifetz and Mischa Elman as violinists. Later, as I bade her adieu, I was again conscious of that blending of the old world with the new. It was a strange sensation, not unlike that pro- duced by the sight of spring arbutus on Broadway, of French hand-kissing in an American drawing-room. “You will come and see me when I re- turn,” she said, and the quality of her voice again thrilled like the glow of sun- light on white velvet. Note — Ks The Classic went to press a company was organized to conserve Marie Doro as a national resource. Altho Miss Doro had her passports and Mr. Brenon’s secretary had sailed, the plans were changed and the Doro-Brenon pictures will be made in America. Cheating Cheaters {Continued from page 67) most of you. I am going to give the rest of them a chance. They’ll write their confessions — and those confessions will be intact until they attempt to double- cross me. But I dont think they will. And you — and — I ...” Tom drew her to him. “First you must know,” he murmured into her dusky hair, “that I — college — debts. It was so easy — / was too easy — then — but what, what of you — and — I . . . ?” “You drew a wonderful picture once,” she told him, “of you — and I — in a world — alone. Under us — the purple, pulsing sea — over us a honey-colored moon — for- getting all things — by all things for- got . . Ten minutes later a broken, happy voice called shrilly forth : “Holmes, will you show them in ?” THE INGENUE By Frederick Wallace I skip, I run, I blithely trip, I bound, I never walk ; I babble, gurgle, prattle, goo, And let my elders talk. I giggle, simper, titter, smirk. Nor flaunt the worldly smile, I’m full of innocence and joy. Nor know I aught of guile. I wear my hair in curls or braids, I never lick it back. My jewels are my starry eyes. All other gems I lack. My gowns are gingham (mostly plaid), My dainty feet are bare. For cigarets and limousines And gold, I do not care. And always, in the end, I win, Tho gloomful be the tale. My cruel rival drowns herself. The villain lands in jail. And, in a close-up, in His arms, I blot the moon from view. While sniffs re-echo thru the house — I am the Ingenue. *‘You Lier HEEE in this one-horse town — at night — they stood before the judge — arrested — she an heiress, promised to a big politician — he, the man beside her, not her fiance — Why did they lie? Why did they hide their true names? Find out the amazing sentence the judge pronounced upon them. The starthng outcome of it all makes a big story. Bead it. It’s told by HARmNG DAVIS First Uniform Edition Whether it be the blinding heat of an African desert . — a lonesome island in the Pacific — or the deep mystery of a London fog — Davis always has a breathless story to tell. If you are one of those who know that somewhere in the world splendid adventures are always happen- ing; that a beautiful woman can be interesting; that today — at this moment — brave men are laughing at fear — tricking death — defying fate and winning the women they love — Richard Harding Davis is for you. He was at the Boer War — he was in Cuba — he saw the Russo-Japanese War — he was in Mexico — he was in the Great War. More than ever before Americans love him. His heart flamed out against cruelty and injustice. His chivalrous knighthood stood out start- lingly in this machine-made age. THEODORE ROOSEVEjul said: *‘His heart flamed against cruelty and injustice. His writings form a textbook of Americanism which all our people would do well to tead at the present time.” FREE AMERICA IN THE WAR 5 Volumes that tell the whole story of our glorious part in the World War — of how America turned the tide and brought to the Allies a noble victory and the greatest peace the world has ever known. WHY WE WENT TO WAR, by Christian Ganss HOW WE WENT TO WAR, by Nelson Lloyd THE VANGUARD of AMERICAN VOLUNTEERS, by Edwin W. Morse OUR ARMY AT THE FRONT, by Haywood Broun OUR NAVY IN THE WAR, by Lawrence Perry All the world has ever accomplished pales before the overwhelming achieve- ments— the consummate victories that are America's today. We had in France the finest army that ever fought under the Stars and Stripes. The ocean bears a fieet incomparably the greatest our country has ever had. Why were these things done? How were they done? You can find out in these five splendid volumes — not vaguely and in a general way, but fully, completely, definitely. They tell the whole story of our glori- ous achievements in the war — a story no patriotic American can afford to be without. SEND THE COUPON-Without Money You must act quickly. How long you can have these books at the present low price we do not know. The cost of paper and cloth is going higher every day. When the present edition runs out we will have to add the extra cost of paper to the price. Make sure of your splendid set at the little price. MAID THE COUPON TODAY. For- get the monotony — the dullness of every-day life. Go with him into the land of romance. Feel the joy of eager and intense living that he brings to you. Charles Scribner’s Sons, 597 Fifth Avenue, New York Charles Scribner's Sons M.P.C. 3-19 597 Fifth Avenue, New York Send me, all charges prepaid, complete set of Richard Harding Davis, 12 volumes. Also send absolutely Free “Personal Narratives from the Front,” 5 volumes. If the hooks are not satisfac- tory I will return both sets within 5 days, at your expense. Otherwise 1 will send you 50c at onoe and $1 a month for 17 months. Name. . , Address. Occupation, CEighty-one) 1 (EigJity-two And yet you may get a 21-jewel Burlington for only ;?2. 50 a month. Truly it is the master watch. 21 ruby and sapphire jewels, adjusted to the second, temperature, isochronism and positions. Fitted at the factory in a gold strata case, warranted for 25 years. All the newest cases are yours to choose from. You pay only the rock - bottom - direct -price — positively the exact price that the wholesale dealer would have to pay, O Tj, 7~'* j. f don’t pay a cent to anybody until you see the watch. We it ship the watch to you on approval. You are the sole judge. No ^ ^ ^ I' t %j S' e obligation to buy merely because you get the watch on approval. Burlington Watch Co., Dept; 1553, 19th Street & Marshall Blvd., Chicago, 111. Please send me (without obligations and prepaid) your free book on watches with full explanation of your cash or $2.50 a month offer on the Burlington Watch. Name . Address.. Write for Booklet! Put your name and address in the coupon or on a letter or post card now and get your Burlington Watch book free and prepaid. You will know a lot more about watch buy- ing when you read it. Too, you will see handsome illus- trations in full cplor of all the newest cases from which you have to choose. The booklet is free. Merely send your name and address on the coupon. Burlington Watch Company^ 19th St. & Marshall Blvd., Dept. 1553, Chicago, III. -Jewel Burlington A Month the U. S. Navy — A WATCH has to be made of sturdy stuff in order to “make good” on a man-of-war. The constant vibration, the extreme heat in the boiler rooms, the cold salt air and the change of climate from the Arctic to the Tropical are the most severe tests on a watch. If a watch will stand up and give active service aboard a man-of-war, it’ll stand up anywhere. 6003 Burlingtons have been sold to the men aboard the U. S. battleships. Practically every vessel in the U. S. Navy has a Burlington aboard. Some have over 100 Burlingtons. The victory of the Burlington in the U. S. Navy is testimony to Burlington superiority. ilOTlON PICTURE CLASSIC The Celluloid Critic {Continued from page 77) old the story. Miss Gish is less forced and iiore spontaneous in this piece, and Dick larthelmess gives a sympathetic performance hat is little short of remarkable. Here is an- ither Charlie Ray! There is a love scene on he beach in “The Hope Chest” that is vibrant nth the gossamer dreams of youth. Ever since Alla Nazimova did that splendid hing, “Revelation,” we go to see her pictures vith high hope in our heart. And each time he fails to live up to the fine screen promise if that story of the French boulevards. “Eye for Eye,” (Metro), based on “L’Occi- lente,” a tragedy by Henry Kistermaeckers, hould have proven highly colored material in he brilliant star’s hands. But nowhere does Eye for Eye” lose the ring of artificiality. ?he story, already told in The Classic, need ■ot be outlined. But Metro has changed the nding, and we now find the exotic Oriental ass failing into the arms of the French officer. Thus the whole point of the drama, that “East 5 East and West is West,” is lost. But we lust have our sunset fade-outs, mustn’t we? Albert Capellani gave “Eye for Eye” an laborate background, but he doesn’t quite Ichieve the semblance of reality anywhere, fou cant forget, during any foot of its length, iat the thing is just make-believe. Nazimova erself is vivid thruout and sometimes strik- igly dramatic, but nowhere does she touch le vibrant note of “Revelation.” We cant help feeling that Goldwyn made a listake in casting the gentle Madge Kennedy 1 the Rose Stahl role of “A Perfect Lady.” 'his is the tale of a burlesque queen who, upon eing stranded in a town yclept Sycamore, rins the heart of the handsome village min- iter, triumphs over gossips and finally achieves appiness. Miss Kennedy simply isn’t fitted or the part. Indeed, “A Perfect Lady” is ather dull material, directed without particu- tir inspiration. I “The Make-Believe Wife,” (Paramount), is pleasant Billie Burke vehicle — of young alks, both engaged, but not to each other, who et lost on a mountain and have to get mar- led on account of that, you know. They’re ilanning to be divorced immediately and j-marry the engagees, but, of course, they iscover that they really love each other. So ley stay wedded. Miss Burke is very piquant 1 the leading role. “Code of the Yukon,” another Anthony Paul ielly story, introduced Mitchell Lewis as a elect star. This is a conventional Alaskan lelodrama, full of the usual stuff. Lewis verplays and, of the cast, Goldie Caldwell :ands out. She looks every inch the dance- all belle. We’ve been trying to recall the plot of “A /Oman’s Experience,” (Bacon-Backer Films), ,Dr a week, and we give up. We do re- lember that it was quite tiresome and that le star, Mary Boland, photographed badly, ut the story "The screen probably had no bigger disap- ointment during the past year than the cellu- lid “flop” of Fred Stone. The comedian’s lethods aren’t those of the films. His “Under le Top,” (Artcraft), is sad stuff. John Em- •son and Anita Loos wrote a satirical melo- rama, but the director and everybody else >ok things literally and played “Under the op” as serious drama. Stone’s stunts in the reus tent alone redeem the picture. And now for the best news of the month ! he Sidney Drews are back — this time as aramount comedians. Their first, “Romance id Rings,” is quite in the best Drew spirit, ;ie delicious comedy of a borrowed wedding- ng. Need we say that the Drews are as ccellent as ever? Christmastide saw the occupation of the new H. Ince studios, the most complete itfit on this coast, for, of course, as the new udios are built, innovations in accessories ■e devised. One of the sets used by Victor Schertzinger as a complete village to be rudely seized by special conflagration. About twenty-five ousand dollars’ worth of houses and props lere burned up. Mr. Schertzinger inhaled so juch smoke that he was laid up for a week. j (Eighty-three) solid Gold Send Your Name and We^U Send You a Lachnite DON'T send o penny. Send yoor namo and finder alze and say, **9eDd me a Lachnite mounted in a solid eold ring on 10 days' free trial." We will send It prepaid ligbt to your home. When Itcomee merely deposit 24 76 with the postman and then wear the ring for 10 full days. If youoOr if any of your friends can tell it from a diamond, send it back. But if you decide to buy It — send $2.60 a month ^til $18.75 baa been Paid. VAclav Send your came now. Tell oa wbi^ of the aoUd VTniC AOIl4iy gold rings illustrated 80070 yoo crisb (ladies' or i msD'a). Be sure to eend your finger size. ... L Harold tachman Co. 12 N. Michigan Ave.. 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Our students are selling right along to leading magazines, from the Atlantic down, Onebusywifc andmother is averaging over a vieek Jrom photoplay writing alone. Also course fn Journalism, VerslflcatloB, etc. No institution is better equipped to train for successful authorship. 150-Page Catalog Free. Please Addreii THE HOME CORRESPONDENCE SCHOOL Dr. Esenwein Dept. 112 Springflild, Matt. 2 Movie Pennants for lOc To introduce our catalog of Movie Books, etc., we are selling these pennants at bar- gain prices. Just the thing for your Den, etc. Each pennant of a different Star. Made of Felt and come in assorted colors. Will send two for 10c., 12 for 50c. or 25 for one dollar. Order before they are all gone. ROYAL PENNANT CO. Dept. B. South Norwalk, Conn. It UNDER MASTER TEACHERS J t5l Monies A Complete Conservatory Course by Mail Wonderful home study music lessons under great American and European teachers. Endorsed by Paderewski. Master teachers guide and coach you. 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BANJUp KEED ORGAN, by equally eminent teachers. Cam bow easily you OdlU W become a fine singer, or a skillful , ... , player. Write today for full particu- lars, Investigate without cost or obligation. University Extension Conservatory 6071 Siegel-Myers Building Chicago. IlL The Stagnation of the Screen {Continued from page 47) when he will stop acting and devote his whole time to directing. And he will not confine himself to comedies by any means. Mighty big dramas will come from the Chaplin studios. “The present inflation of salaries will, of course, have to stop. There are just two exceptions, Chaplin and Mary Pick- ford. They are worth their money. But the making of chorus-girls and be-curled cuties into stars will stop because ex- hibitors are beginning to see the light. They are going to stop showing pictures in which these stars are the most impor- tant item, simply because they are losing money in playing the pictures. Then the producer will realize the necessity of advancing the screen story. After that we will see men like Barrie, Shaw and Kipling writing for the films in England, and authors of Dreiser’s ability turning out scenarios over here. Competition from abroad will, of course, aid that advance.” Brenon had planned to go back to England to make pictures, but he has decided to make at least a few over here with Marie Doro as star. Brenon was nearly a year in England and on the Continent, He made a big propaganda picture for England, in which such players as Ellen Terry, Marie Lohr, Josie Collins, Matthewson Lang, James Carew and Erederick Carr appeared. The photoplay had hardly been completed when a fire destroyed the stu- dio, burning Brenon’s negative along with a number of others. So Brenon set to work to remake the picture and had just finished when the war ended. Now, of course, since there is no need for propaganda, the film will probably never be seen on a public screen. “Of course, I felt terribly for a few seconds when the news of the end of the war came,” sighed Brenon. “That was human. But then I realized that it meant an end to the world’s suffering, and I knew that my trouble was a little thing after all. Any one who has been in the front trenches would have had the same feeling. Before I got to France I was crying ‘Fight to the finish’ with the rest of them. But fifty seconds after I had entered a trench, I whispered, ‘God, make this end soon.’ ” Brenon told of a little experience be- hind the lines when he visited the head- quarters of both the camera-men and the newspaper men. “The writers had a veritable palace to themselves, with serv- vants, books and every comfort. But the camera-men occupied a little, dirty hut, crowded with film and cameras. Then I realized how differently the world still considers the camera-man and the writer. Afterwards I visited a cam- era-man who had lost his leg in a shell explosion. I leaned over the hospital bed, and I said, ‘Boy, ^mu’re a wonderful pioneer — you’re carrying the camera to the heights, where it belongs.” Lee Moran has joined the “proud poppa” class and fondles his Princess Pat, who’s just about one month old. He named her Patricia, after a Hibernian ancestor, but the “U” folks have called the baby Princess Pat. motion picture classic The Extra Girl, Anita and John {Continued from page 79) ■ learnt — and what cannot one learn dur- ing the course of such a conversation ? — that she and Constance Collier are col- laborating on a play which is to be Mr. Faversham’s next starring vehicle. I “We have reached the point where we are beginning to worry about the first I night,” Miss Loos laughed. “Suppose !the audience happens to call ‘Author, author!’ and the two of us have to stand up on the stage side by side.” I Miss Collier, as you know, is tall and '.stately, while Miss Loos, as one of the extras commented, leaves nothing to be desired in the way of a watch-charm. I She began to write before she had a “speaking acquaintance with her teens and sold her first scenario when she was fourteen. Miss Wriggles remarks that she has several literary geniuses dangling from her family maple, but she never hopes to break Miss Loos’ record. “You love to work, dont you, Nita ?” a ii friend inquired. “I love to eat,” she returned. “That’s the answer.” “In your places, children,” Mr. Emer- son was calling, and we scrambled back to the set. It was towards the end of the day, jand most of us were beginning to feel the strain of our emotional acting. Here and there a groan arose, accompanied by a sigh. “Just a little while longer, children,” Mr. Emerson encouraged. “I know yoTi’re all tired, but then you would be actresses.” Finally faithfulness brought its own reward. No — I hate to disappoint us both — Mr. Ernerson did not promise to j feature me in his next production, but he did do something which was the balm to my aching feet such a promise would have been to my weary soul. As my companion players and I were standing 'Ion the corner that is the exit from the Paragon studio lane at Fort Lee and madly concentrating upon the approach of a car, an auto stopped near us, and Mr. Kennedy alighted. “Is Miss Rosemon here?” he called into the darkness. ' When I had reached the door of the machine, with that what-have-I-done- now feeling oozing out of my left shoe, :I was invited by Mr. Emerson to occupy the one remaining seat. It seems that Mr. Kennedy, in his role of custodian-in- general of names and addresses, had icasually remarked that one of the girls had to take a long trip to Brooklyn at that hour of the night. Such a fate was too dire for Mr. Emerson’s kind heart. His “giving me a lift to the subway,” which, strange to relate, was at the same place I had left it in the morning, made it possible to get this story to E. E. be- fore he closed the last form and to arrive chez moi while Miss Wriggles still re- tained the buoyancy of youth to wag her well-manicured tail in friendly welcome. (Eighty-five ) Kate Coebaley Yes — but isn’t it worth the trouble ? How else can you hope to “register” the eagerness, the disarming innocence, the sheer ingenu- ousness of childhood? Children and laughter and happiness — there’s your sublime trinity ! “True enough,” you say, “but how am I to inject these human interest elements into my photoplay stories ?” It is here that the Palmer Plan of Photoplay Writing is some lob ! who has earned $2000 within the last year from the sale of pho- toplay ideas. All this, with four small chil- dren and household duties to look after. In two years she has sold 11 ’scripts and won the $1000 first prize offered by the Triangle Film Corpo- ration. Mrs. Corbaley is an enthusiastic ad- vocate of the Palmer Plan. Because she realizes how complete- ly it fills the need for honest, conscientious instruction in photo- play writing. Mrs. Corbaley’s opinion of the Palmer Plan — together with that of scores of other motion _ picture^ celeb- rities— is contained in our illustrated booklet. Send for it today! comes as a signal help. For it places at your finger-tips the things you must know to achieve success as a photoplaywright. Understand — it is NOT a mere book, nor a “school,” nor a tedious cor- respondence course, but a simple, clean-cut plan of photoplay technique. The Palmer Plan is the perfected work of Frederick Palmer — a recog- nized master of photoplay construction — the man who in 9 months wrote 52 scenarios for “Universal.” It is the first plan of photoplay instruction that shows you by direct example how to prepare your stories in the action- language of the screen. It is the first plan of its kind to win the enthusiastic indorsement of the foremost producers, stars, directors and scenario editors in America. It is the only institution of its kind that helps the student all the way through — from primary instruction on to Advisory Service, and then •on to Marketing Service. Remember — there is nothing like the Palmer Plan. There has never been anything like it. It is compact, complete and comprehensive. And, above all, it is authoritative. It gives you the practical, per- sonal training you need to win ! What’s more — it has an iron-clad, money-back Guaran- tee that protects you absolutely! So — why deprive yourself of the name and farne and money-rewards that come with success in this fascinating field — when the Palmer Plan of Photo- play Writing puts the whole secret in the hollow of your hand? Today — send for our new illus- trated booklet, “The Secret of Successful Photo- play Writing.” Shows the famine in photoplays, the fabulous prices producers are willing to pay, and how glad they are to encourage Palmer- trained writers. Your copy is waiting for you — and it’s free! Mail the coupon NOW! Palmer Photoplay Corp., \ 7431. IV. Heilman Bldg., « Los Ayieeles. Calif ornia. Los Angeles, California. Please send me, with- t out obligation, your ; new booklet, “The Se- cret of Successful Pho- toplay Writing.’’ Also, 1. Special Supplement 1 containing autographed letters from the leading producers, stars, direc- tors, scenario editors, etc. Just to Get Acquainted, we will mail you 4 issues of PKoto-Play World The one by which all others are governed For .$1.00 The Photo-Play World contains only the best pic- tures— Stories and Articles. Has a Staff of America’s Foremost Writers Subscribe Now, 35c a C'oi)y, $3.50 a Year THE PHOTO-PEAY WORLD Bulletin Bldg. Dept. M. C. Philadelphia, Pa. CuticuraSoap All druggists; Soap 25, Ointment 25 and 60, Talcum 26. Sample each free of “Cutlcura, Dept. B, Boston.'’ iimnniiiHii MOTION PICTURE CLASSIC A Profession Within Your Grasp! With the Dawn of Peace Comes the Rise of New Opportunities The World War was waged against Kaisers and all Autocrats who suppressed the People’s Op- portunities. Opportunity was relegated to a Favored Class. The Favored Class has been abolished and today you and I stand on the Rim of a New Age. One look into the Agonized Face of the Victors tells us that the Supremacy of the Sword lies buried in the Ruins of the Old World which we have for- ever left behind. YOU and I — we are the People. And it is true that the people will rule henceforth. But whether or not it be You and I who shall rule is not left to Chance. For our fellows will permit none to rule who has not won his Crown ! SO a new war is upon us — the War of Peace, the War of the Pen. And the Pen is Mightier than the Sword! For the pen is Bloodless and every well-directed stroke means a new rivet in the Renaissance of Right. The Pen shall be the scepter of this New World that woke on Flanders Fields. The Pen shall bring the World’s Men to the World’s Market Places and leave to Unknown Failure the Mer- chant who does not Advertise. The Pen shall weigh and sway the Opinions of the People until they rock the sphere in the Cradle of the Press, and he who fails to read his Magazine or Newspaper will be blasted with Ignorance. The Pen will rouse the Sleeping Souls of Men to set Monumental Deeds over the graves of Dead Resolutions, and he who has not ears to hear the Voice of the People thru their Orators shall never see the Morning! The Pen shall skim the richness and sweetness of the World’s Glories in History, it shall bring the essence of Men’s Lives to be relieved in the Library, it shall enchain the tragedies and laughter that storm and sun the Human Soul, in an exquisite hour on a Curtained Stage, it shall last of all Sing the weary world to sleep by sweeping the strings of Poetic Fancy ! Hail to the Age of the Pen ! For the literary arts are the foundation of all the arts and sciences. Without them success in any under- taking is well nigh impossible. They are stepping- stones as well as independent professions. SO, the time is ripe for the New Education to rise— The AMERICAN C OLLEGE OF LITERARY ARTS. This is the only institution in the World devoted solely to the Word and the Pen. It is consecrated to Opportunity and the People’s Need. It puts a Profession within the grasp of the Man Who Has Ears to Hear. WHY bury a talent in the grime of a back- breaking, soul-rasping, mind-crushing job? This, to the Man or Woman who HAS a talent ! Men and Women of Talent, we salute you ! We greet you with the Key to the Door of Opportunity in our hand. WE warn you, that the Door stands at the top of a high mountain which only diligent Study and honest Perseverance may hope to reach. We Keepers of the Gate are trustees only. Treas- ures lie within that none but True Knights of the Pen may lay hands on. WE are seeking Dreamers of Dreams, to be sure, but none shall pass out with the Seal of Ap- proval until we are convinced that he IS a Doer of Deeds. OLD Schools have passed away, we offer you one born Yesterday breathing the New Spirit of the Age. Here is a School in the very midst of the Turmoil of Life. Here the Man and the Woman meet Masters, mind to mind and heart to heart, who have solved Life’s Problems in their Particular Profession. Here may study Students who never walked in Learned Halls, students who are gray with Age or grimed with Toil, students who commune with their Masters tho they dwell in Timhuctoo or Kokomo, students who are masters of all their time or who can garner a treasured hour a day. The A. C. L. A. plan fits the Student’s Mind and Ambition and ignores his or her physical, financial and social handicaps. IF YOU think you belong to the Ruling Class, it you can Dream Dreams and Do Deeds, if you can follow Opportunity over the rugged paths that lead to the Summit of Achievement, if you would like to peer into the Treasures the New Age holds for YOU, clip the Coupon below, and send it to us and we will send you a handsome Brochure of Inspiration called “The Open Door.’’ The Lion and the Mouse I {Continued from page 58) admitted, calmly, trying to deny the glad^ leaping of her heart at his appearance by the indifference of her tone. “Still, handicapped as you are, it seems to me that the boy I knew in Paris ” “The boy you knew in Paris and I are not the same fellow !” he sneered, self- scornful. “Pm only a marionette — a soulless puppet, dancing when my father pulls the strings. Oh, I hate myself for obeying, but I go on obeying all the same.” With a groan that came from his heart, he flung his long young limbs into a chair by her desk and looked at her like a little boy in trouble. “Shirley,” he cried, bitterly, “dad told me today that I was to marry Kate Rob- erts, the daughter of the senator! Seems he and her father have fixed it up be- tween them, and we’re supposed to toe the mark like good children !” “Senator Roberts — the leader of the Congressional party that is going to put my father off the bench !” Shirley spoke, thoughtfully. “Ah, I see. That is his pay for swinging the vote as Ryder dic- tates. Well, I’ve seen her picture — it ought not to be hard for you to obey.” “Don’t talk that way!” Jefferson : Ryder leaned forward with sudden pas- sion, seizing her hands in his hot grasp. > “It’s sacrilege, when you know I love ^ you. Kate is a fine girl — we’ve been i good pals ever since we were children, but it’s you I want to marry — you, with ! your wonderful dark head like a cameo : and your sweet lips and all the dear you- ness of you !” “I suppose,” said Shirley, quietly, “you i told your father that?” The quick color stained his handsome ^ face. His eyes avoided hers. “I said I , was a puppet.” She looked down at the tossed sheets upon her desk, that he might not read the pain in her eyes. “Then, if that is true, you insult me by speaking to me of ' love!” she said, in a quivering tone. “Even if things were not as they are — if John Ryder had never willed the ruin of James Rossmore — even if I loved you, I : could never marry a man who would not : fight for me — defy the world, the flesh, : the devil — for me !” ; The biography grew with the passing of the days. In spite of the heaviness of I her heart, Shirley Rossmore found her- self giving a grudging admiration to the man whose character, with its strength I and weaknesses, was unfolded to her ken | in the close intimacy of her work. There was that in her own nature which re- sponded to the sheer brute power of him, the pride of will, the relentless over- riding of obstacles in his path. She was determined to hate him, and when that determination wavered, all that was needed to strengthen it was the memory of the broken man huddled in his desolation of dread in the dingy little ( suburban cottage, waiting the day of his disgrace. As for Jeff, she saw nothing more of him. But one morning, opening the (Eighty-six) AMERICAN COLLEGE OF LITERARY ARTS 310 Washington Avenue BROOKLYN, N, Y. AMERICAN COLLEGE OF LITERARY ARTS, 310 Washington Ave., Brooklyn, N. Y. Sirs: I am interested in your announcement. Please send me your booklet “The Open Door** free, without any obligation on my part. Name Street City and State Date Opportunity Knocks! WILL YOU LET HER IN? Do you want to advance and progress? We offer you the opportunity to learn a new profession. Without leaving your present occupation, we open the door of a college to you. This is the beginning of a new era in the world’s history, and we have based our Big Idea on it. The world is full of undiscovered and undeveloped talent, and the near future will need it all. Our idea is to discover that talent and pre- pare it to fill the needs of the new de- velopment. Our plan is entirely new and original. We are not trying to sell you something, nor are we trying to get you to sell something. We simply want you to send for our booklet. That will tell you the whole story. If you are ambitious to move forward, if you feel that you would like to find out if you have talents that should be developed, if you want to do your share of the rebuilding of the new world and share in its prosperity, don’t let this chance slip by. Send a postal card at once for our booklet. American Hearthstone College 177 Duffield Street Brooklyn, N. Y. (Eighty-seven) ) paper, she read the announcement of his engagement to Katherine Roberts, and for a single moment the world reeled. She got up blindly and, obeying some strange urge within her, went to her mirror and gazed at the face re- flected therein with a kind of passion- ate questioning. From the piteous rev- elation of it she turned away in shame. “Why, I love him !” she said aloud. “I — love him, and he is weak and un- worthy. He is marrying because he is afraid of his father, because he doesn’t dare to be disinherited ! And I love him ” The six months were very nearly gone, and still she had done nothing de- cisive toward saving her father. Each plan that she made and followed led her into some blind alley of deception and treachery, from which her sense of fair play shrank back appalled. She had learnt that the two letters which were needed to prove her father’s innocence of the charge of accepting a bribe were kept hidden in the wall safe in Ryder’s private office. More than once she had had the opportunity of abstracting them, yet so far she had not done so, and in a day or so it would be too late. On the plea of looking over some papers, she stood on the evening before her father’s trial alone in the office, with only a thin sheet of steel and her honor separating her from the precious letters. “There is no choice,” she said with a long breath, “none ! I am a thief, but I must save my father.” With white lips whispering the combi- nation, she was moving toward the safe, when the sound of the opening door brought her about with a low cry, quickly controlled. Jefferson Ryder sprang to her side. Even in her confusion and surprise she knew dimly, as she looked up into his kindled face, that there was something different about him, some- thing assured, something masterful. “Shirley, did you see the paper this morning?” He stumbled over the words in his eagerness. “I didn’t know about that lying announcement till I read it — I’ve been hunting for you ever since. Shirley, I’m going to tell father about you — about us — tonight. Dear, say you’ll let me ” She interrupted him, pushing him away with desperate, cold little hands. “Dont ! I cant listen. I was just going to — to rob your father’s safe ! The let- ters are in there — the letters I’ve got to have to save my father tomorrow !” They stared into each other’s faces for a long, silent moment, then quietly he put her aside. “Give me the combina- tion,” he said, quite matter-of-factly ; “this is my job.” “You’d do that for me?” she whis- pered, a strange gladness surging thru the words. “You’d give up — everything ■ — for me?” “If I have you I’ll have everything,” Jefferson Ryder smiled down at her. “And now, dear, give me the combina- tion. I’m afraid I’m a bit of an ama- teur at safe-breaking, but I’ll do my best.” She held the precious letters in her Our Great Special ! LOFTIS PERFECTION DIAMOND RING The most popular Solitaire. 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Leo Friedman one of America's well-known musicians, the author of many song successes, such as **Meet Me Tonight tn Dream^nd/* **Let Me Call You Sweetheart/* When I Dream of Old Erin/* and others the sales of which ran into millions of copies. Send as many poems as you wish. Don't Delay. Get Busy^QuIck. CHESTER MUSIC CO. Chicago, III. WRITERS’ FREE BOOK! A WONDERFUL BOOK -READ ABOUT IT! Tells how easily Stories and Plays are conceived, written, perfected, sold. How many who don’t DREAM they can write, suddenly find it out. How the Scenario Kings and the Story Queens live and work. How bright men and women, without any special instruction, learn to their own amazement that their simplest Ideas may furnish briiliant plots for Plays and Stories. How your own imagination may provide an endless gold mine of Ideas that will bring you Happy Success and handsome Cash Royalties. How new writers get their names into print. How to tell if you ARE a writer. How to develop your “story fancy,” weave clever word - pictures and unique, thrilling, realistic plots. How your friends may be your worst judges. How to avoid dis- couragement, and the pitfalls of Failure. HOW to WIN! This sur- prising book is ABSOLUTELT FREE. No charge. No obligation. Your copy is waiting for you. Write for it NOW. Just address WRITERS^ SERVICE Dept. 42, Auburn, N. Y. appear straight when you wear Straightleg Garters Remarkable invention — Combination hose- supporter and pant-leg Straightener — Quicltly adjusted to fit various degrees of bowiegs; as easy to put on and comfort- able to wear as any ordinary garter — no harness or padded forms; just an ingenious special garter for bowlegged men — im- proves appearance wonderfuliy. Bowlegged men everywhere are wearing them; enthus- iastic. Write for free booklet, mailed in plain envelope, S-L GARTER CO. 638 City National Bank Building BAYTON, OHIO Over 100.000 Underwoods Sold to U. S. Govt. That makes rebuilt Under* woods scarce. So, speak quick for yours. Guaranteed for5 years? You can rent^ buy on easy terms, secure cash discount or earn one through agencyp\s.T\', no canvas- sing. Ask for Offer No. 211, TYPEWRITER EMPORIUM 34>36 Lake St. n CHICAGO* ILL. y »WAY UNDER MANU« FACTURER’S PRlCEf Genuine, visible writing Underwoods —rebuilt in our factory, with Back Spacer. Tabulator, Lateral Guide,' Stencil Attachment, 2-color Ribbon. Waterproof Cover and Special Touch Typewriting Guide Book sent on 10 Days* Free Trial, tifiiii(iiiiiiiii(iiiiiiiiiiiiiiiiHiiiumitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiiiitiiiiii£ American Art 1 1 We have on exhibition at all times a H 1 1 large collection of paintings by the most \\ 1 1 famous of American artists, including fine || 1 1 examples of George Inness, R. A. Blake- |i II lock, Elliott Daingerfield, H. W. Ranger, |i 1 1 J. G. Brown, G. H. Smilie, Arthur Parton, || 1 1 Carleton and Guy Wiggins, Edward Mo- || II ran, Eugene V. Brewster, etc., etc. 11 II Illustrated Catalogue in Colors || 1 1 mailed for five cents in stamps. 1 1 l| LA BOHEME If 1 1 175 Duffield St., Brooklyn, N. Y. i| fCdiiiiitiiiiiiiiiiiiiitiiiiiiiitiiiiMiiiiiiiiiiiiiiiiiiiKiiiiiiitiiiiiiiiiiiMiiiiitiiiiiiiniiiiiiiitiiiiniiiiiiiiiiiiiiiMiiiiiiiiiiiiiiitiiiiiiin — hand when, five minutes later, John Ryder found them standing together be- side the open safe. One arm about her, Jefferson faced his father, man to man. “If you’ve got anything to say, sir, say it to me,” he said, quietly. “I got the letters for her to save an innocent man.” “So,” John Ryder spoke, with terrible calmness, “you have been flying false colors ! Your name is not Frances Green.” “I am Shirley Rossmore.” The dark head lifted proudly. “I am not ashamed of anything I have done. It is you who should be ashamed — you, who plot the ruin of a good man because he stands in your way ! You, who play a puny god !” She took a step toward him and, with a gesture of contempt, laid the letters in his hand. “I thought I needed these, but I know now that you cant win — ^wrong and cruelty and falsehood cannot win! You cant hurt my father, because he is beyond your reach — you cant get at him. Hate is powerful, but not as powerful as love — I know that now.” She turned to the boy at her side and laid her hand on his sleeve. “Good-night, Jeff, and good-by ” She was gone, a slim, gallant woman- thing, leaving an emptiness behind. John Ryder looked down at the letters in his fingers, then, curiously, at his son. “Do you love that girl?” He spoke curtly, ungraciously. “Yes, sir,” nodded Jefferson, and for the first time there was a look about him reminiscent of his father. “And, what’s more. I’m going to marry her if she’ll have me !” “I never dreamed you had that much sense !” roared old John Ryder, and thrust the letters into his bewildered hands. “Here, take these things and tell her there’ll be no impeachment trial to- morrow. And dont stop to talk, boy, or some other man will see her and marry her first!” The Fame and Fortune Beauties {Continued from page 54) position in the second honor roll. Miss Irving, like all the other seven winners of the honor roll, has no experience of a professional character. Miss Irving studied dramatic art, however. She is five feet, six inches, in height, with medium brown hair and dark-gray eyes. The Oriental lassie is Emma Clare Orb, of the Victoria Apartments, 10th and C Streets, San Diego, Cal. She dances, but not professionally. Miss Orb is a Kentucky girl, having been born in Louisville. Her hair is black and she has hazel eyes. She is just five feet, one inch, in height. Aliene Fulton, of No. 215 F Street, East, Hutchinson, Kansas, oddly re- sembles Lillian Gish. She, too, is a Ken- tucky girl, with blonde hair, broivn eyes and is exactly five feet, two inches, in height. Madeline Cunningham resides at No. 4951 Payne Avenue, Cleveland, Ohio. She is a blonde type, with blue eyes. Just four feet, 11 inches, is Miss Cun- ningham. Grace Durfee is of the typical screen Infantile 1 Paralysis | I caused the deformity seen at the left. It had existed ? years when the McLain Sanitarium straightened the foot. See other picture. The patient writes: Just a few lines of thanks for the wonderful results following my treatment. After walking for_ sev- eral years on the side of , my foot, I now walk in a {natural position. J do not fuse a cane as formerly. Jl certainly recommend this Sanitarium to any one similarly afdicted. Will gladly answer let- ters. CARL A. ROBISON, Kosmosdale, Ky. Write Carl Robison or the Sani- tarium for full details. FOR CRIPPLED CHILDREN The McLain Sanitarium is a fhorouglily equipped private institution devoted exclusively to the treat- ment of Olub Feet, Infantile Paralysis, Spinal Dis- eases and Defcrmities, Wry Neck, Hip Disease, Dis- eases of the Joints, especially as found In children and young adults. Our book, "Deformities and Par- alysis"— also "Book of References," sent free. The McLain Orthopedic Sanitcurium 818 Aubert Ave. St, Louis* Mo. Photoplays - Stories -Poems - Songs Ambitious Writers of Photoplays, Stories. Poems, Songs, send today for new catalog of helpful suggestions. AtlM Publishing Co.* D-598* Cincinnati, O. ten PAifMENT PLAN 71^ % Yearly Increase Guaranteed SPECIAL TERMS — TEN MONTHS’ credit on any article selected from the SWEET Catalog. No money in advance. Shipment made for your examination. First payment to be made only after you have convinced yourself that SWEET values cannot be equalled. If not what I you wish return at our expense. I Any Diamond bought of us may be returned for exchange at an in- creased value of TVi per cent more than you paid. No Red Tape No Delay Every transaction CONFIDE N- TIAIj. You don’t do justice to yourseif and your dollars un- less you Inspect our unusual values In , „ Diamonds, Watches, SWEET’S newest OfSas jewelry. Silverware^, tlon: 7 fine diamonds. Phonographs, etc. Set In hand • engraved Send TODAY tea newest style mounting. SWEEP De Luxe Looks like a $350.00 Catalog. Write NOW S 5 solitaire. PRICE $62.50 to Department 499H B Y w TH E HOUSE OF QUALITY? LW-sweet&C©. 2-44MAIDEN lANE^NEWYORK THE RESURRECTONE trade REGISTERED Get Rfd of that Nasal Twang on YOUR Phonograph This remarkable repro- ducer gives sounds their proper expression and rhythm. Its natural- ness and warmth of color makes the sound a true "resurrection" of tlie original. Applicable to any ma- chine. You'll be delighted with It. Send $10 If nickel plated, or $12.50 if gold plated, and the RESURRECTONE will be sent postage paid. State make of Instrument. Satisfaction guaranteed or money refunded. Hoffay Talking Machine Co., DepMO, 3 W. 29th St, New York City (Eighty-eight) J THE !April Magazine '■ The spring number is as bursting with live-wire matter as the trees with buds. Every year has its filmland favorites; every season has its filmland fancies. There are some play- ers, however, who are all-time favorites. We endeavor each month to tell you about them — about them away from the blue- r green glare of the Cooper- y^Hewitts. So we present: GLADYS LESLIE This little girl is Vitagraph’s sweetest ingenue. She is win- '■ some. She is charming. She never overacts. She is buoyant, . bubbling with Youth. We pre- sent her to you as she is at home. JACK PICKEORD Jack and Uncle Sam have de- cided to go their separate ways. Jack has returned to his first love — the movies. Uncle Sam taught Jack a number of things the movies never could, yet Jack is firm in his belief of the movies. Thru him, you will be presented with the mind of the average man discharged from Uncle Sam’s service. CHARLES RAY Charlie’s specialty in pictures is a real, sure ’nuff boob. But read this interview. Charlie’s being a boob is indeed limited to pictures. FRAN KEY N FARNUM AND EDDIE POLO Here are two popular people with interesting careers — each distinctly different. They are so decidedly different that one marvels at it. Discover thru their stories how trifling inci- dents ofttimes shape a destiny. CONSTANCE TALMADGE Connie and Optimism run hand in hand. Yet sometimes Connie is a lap ahead. Connie can think of more mischief in five minutes than any other nor- mal girl. In this story we pre- sent the reason why Connie is loved by all filmland. ' GOOD OR BAD PHOTO- PLAYS Which do you prefer? Read this instructive article. Read why the right kind wins. Right always wins — be on the winning side. The Motion Picture Magazine 175 Duffield St., Brooklyn, New York (Eighty-nine) 111 ingenue type. She lives in the heart of the screen colony, altho she has never appeared before the camera. Her ad- dress is No. 1271 West 35th Street, Los Angeles, Cal. Miss Durfee was born in Chicago. She has golden hair, blue eyes and is just five feet, three inches. Beatrice Edith Bond is the first young woman not born in the United States to find her way into The Eame and Eor- tune honor roll. Lancaster, England, is her birthplace. Just now she resides at No. 56 Provencher Avenue, Winnipeg, Manitoba, Canada. She has fair auburn hair, blue-gray eyes and is five feet, four inches, tall. Muriel Maxine Main, of No. 117 Chit- tenden Avenue, Columbus, Ohio, is an- other Chicago girl. She has brown hair, brown eyes, and is five feet, 4^2 inches in height. Let us briefly outline the purpose of the contest once more: The two magazines will give two years’ guaranteed publicity to the win- ner. This will include cover portraits in colors, special interviews, pictures, spe- cial articles, etc. — the sort of publicity that could not be purchased at any price. The Motion Picture Classic and The Motion Picture Magazine will secure an initial position for the winner and other opportunities, if necessary. At the end of two years The Motion Pic- ture Classic and The Motion Picture Magazine guarantee that the winner will be known thruout the civilized world. The terms of the contest follow : 1. Open to any young woman, or man, in the world, except those who have already played prominent screen or stage roles. 2. Contestants must submit a portrait, upon the back of which must be pasted a coupon from either The Motion Picture Classic or The Motion Picture Magazine, or a similar coupon of their own making. 3. Contestants can submit any number of portraits, but upon the back of each must be pasted an entrance coupon. CLASSIC ENTRANCE COUPON Contestant No (Not to be blled in by contestant) Name Address (street) (city) (state) Previous stage or screen experience in detail, if any When born Birthplace Eyes (color) Hair (color) Height Weight Complexion ; ‘^One More Step, and FIl Blow Your Brains Out!^* Wildly the boy flew up the shrouds. One step behind came Israel Hands — wounded — drunk — but with the cold light of hate in his eyes. Never was there such a thrill in all the tales written since the beginning of time — from that first day when the old, hairy, tall, strong, nut- brown man with the sabre cut across his cheek rapped on the Inn door, till that sweet day when they sailed home with the treasure — but how feeble are words to tell the rich magic of IZfs STEVENSON There are thousands of people who have read Treasure Island and have no idea tha.t there are twenty-five such vo'lumes. You who have read only a little of Stevenson, what wonders you have before yO'U. You do not know yet The Master of BaJIantrae, that charming gentle- man with the black soul of evil — you have not ventured with The Wreckers in the South Seas for sunken smuggler’s treasure — you have not eo«.«.ped from prison with St. Ives — you have not been a hunted king with Prince Otto — you have not yet held your sides for laughing at The Wrong Box — you have still before you the first dreadful shudders over Dr. Jekyll and Mr. Hyde — you have not yet puzzled over the Suicide Club — how rich and for- tunate you are! These are still fresh and new to you — you are about to read them for the first time. We who have read them a thousand times, always with delight, how we look on you with envy I At Last, the Thistle Stevenson For Less Than Half Price 25 Volumes Adventure, Humor, Mystery, Historical Romances, Essays, Poems; also Steven- son’s Letters. 60 Illustrations. For years the lovers of beautiful books have looked with longing eyes at the famou.s Thistle Edition, and wished they could call it their own. But the Thistle Edition was so costly to launch that the price was beyond the reach of most people. But now, at last, we have welcome news for the big world of Stevenson lovers. You can have the Thistle Edition, containing all of Stev- enson's Works in 25 volumes — at less than half price. The great original outlay for plates has largely been worked off in the earlier sale, and the Stevenson heirs have generously reduced their royalties. In all the history of this house we have never been able to> make you such an offer. We are de- lighted to do it because the Thistle Edition has been one of our special sources of pride. Not a Permanent Offer For months these books have been in preparation, so that the paper for tliera was bought when prices were lower than they are ever likely to be again. This price is made for the present edition, and we cannot agree to contiime it. Don’t wait and pay more. Act -now and save money. Send the coupon to-day. Charles Scribner’s Sons, 597 Fifth Ave., New York Charles Scribner’s Sons, 597 Fifth Ave., New York: Send me. all charges prepaid, complete set of ROBERT LOUIS STEVENSON’S Thistle' Edition, in 25 Volumes, bounil in attrac- tive red cloth, with gilt lettering. If the books are not satisfac- tory, 1 will return them within 5 days at your expense. Otherwise i will send you $1 at once and $2 a moiiUi for 14 months. Occupation M.P.C. — Shakespeare William Shakespeare T^Ws the The Hand of Blachton in The World’s Best Stories Good motion pictures depend, primarily upon good stories — just as all good plays do. Each J. Stuart Blackton picture has as its base a good story. ‘^The Common Cause”, the latest Blackton super-production, was an adaptation from a play written by J. Hartley Manners and Ian Hay Beith. The story, strong and magnetic and intense in its appeal, formed a solid foundation for the wonderful picture. ... It was The Hand of Blackton that interpreted it; — that made the story seem to really come to life; — that made the characters really live; — and that brought the scenes of the story so faithfully before you. All Blackton Productions have good stories behind them — and that’s only one reason why they’re so good! ‘Pictures with the mark, of Blackton are worth while’ BLACKTON PRODUCTIONS, Inc. Studio, 423 Classon Ave« Brooklyn, N. Y, 25 West 45th Street, New York How it Feels to Earn $1000 a Week By a Young Man Who Four Years Ago Drew a $25-a-week Salary — Tells How He Accomplished It HOW does it feel to earn $1000 a week? How does it feel to have earned $200,000 in four years? How does it feel to be free from money worries? How does it feel to have everything one can want? These are questions I shall answer for the benefit of my reader out of my own personal experience. And I shall try to ex- plain, simply and clearly, the secret of what my friends call my phenomenal success. Let me begin four years ago. At that time my wife and I and our two babies were living on my earnings of twenty-five dollars a week. We occupied a tiny flat, wore the simplest clothes, had to be satisfied with the cheapest entertain- ment— and dreamed sweet dreams of the time when I should be earn- ing fifty dollars a week. That was the limit of my ambition. Indeed, it seemed to be the limit of my possibilities. For I was but an average man, without influential friends, without a liberal education, without a dominating personality, and without money. With nothing to begin with I have become the sole owner of a business which has paid me over $200,000 in deaf profits during the past four years and which now pays me more than a thousand dollars a week. I did not gamble. I did not make my money in Wall Street. My business is not a war baby — on the con- trary many others in my line have failed since the war began. In four years the entire scheme of my life has changed. Instead of living in a two by four flat, we occupy our own home, built for us at a cost of over $60,000. We have three automobiles. Our children go to private schools. We have everything we want, and we want the best of everything. Instead of dreaming of fifty dollars a week I am dreaming in terms of a million dollars — with greater possibility of my dream coming true than my former dream of earning fifty dollars a week. What brought about this remarkable change? What transformed me, almost over- night, from a slow-going, easily-satisfied average man — into a positive, quick-acting, determined individual who admits no defeat, who overcomes every obstacle, and who completely dominates every situation? It all began with a question my wife asked me one evening after reading an article in a maga- zine about a great engineer who was said to earn a $.S0,000 salary. “How do you suppose it feels to earn $1000 a week?” she asked. And without thinking, I replied: “I haven’t the, slightest idea, my dear, so the only way to find otit is to earn it.” We both laughed, and soon the question was apparently forgotten. But that night, and for weeks afterward, the same question and my reply kept pop- ping into my brain. I began to analyze the qualities of the successful men in our town. What is it that enables them to get every- thing they want? They are not better edu- cated than I — indeed, some are far less in- telligent. But they must have possessed sorne quality that I lacked. Perhaps it was their mental attitude; perhaps they look at things from an entirely different angle than I. Whether it was, that “something” was the secret of their success. It was the one thing that placed them head and shoulders above me in money-earning ability. In all other ways we were the same. Determined to find out what that vital spark of success is, I bought books on every subject that pertained to the mind. I fol- lowed one idea after another. But I didn’t seem to get anywhere. Finally, when almost discouraged, I came across a copy of “Power of Will.” Like a bolt out of a clear sk}’ there flashed in my brain the secret I had been seeking. There was the real funda- mental principle of all success — Power of “How Do Yon Sut'fose It Feels to Earn $iooo a Week?" She Asked. Will. There was the brain faculty I lacked, and which every successful man possesses. “Power of Will” was written by Prof. Frank Channing Haddock, a scientist, whose name ranks with such leaders of thought as James, ■ Bergson and Royce. After twenty years of research and study, he had com- pleted the most thorough and constructive study of will power ever made. I w'as aston- ished to read his statement that “The will is just as susceptible of development as the muscles of the body!” And Dr. Haddock had actually set down the very rules, lessons and exercises by which anyone could de- velop the will, making it a bigger, stronger force each day, simply through an easy, pro- gressive course of training. It is almost needless to say that I at once began to practice the exercises formulated by Dr. Haddock. And I need not recount the extraordinary results that I obtained al- most from the first day. Shortly after that, I took hold of a business that for twelve years had been losing money. I started with $300 of borrowed capital. During my first year 1 made $30,000. My second year paid me $50,000. My third year netted me $70,000. Last year, due to increased costs of materials, my profits were only $50,000, though my volume of business increased. New plans which I am forcing through will bring my profits for the present fiscal year up to $65,000. Earning a thousand dollars a week makes me feel secure against want. It gives me the money with which to buy whatever will tuake my family happy. It enables me to take a chance on an investment that looks good, without worrying about losing the money. It frees my mind of financial worries. It has made me healthier, more contented, and keener minded. It is the greatest recipe I know for happiness. Prof. Haddock’s lessons, rules and ex- ercises in will training have recently been compiled and published in book form by the Pelton Publishing Co., of Meriden, Conn. I am authorized to say that any reader who cares to examine the book may do so without sending any money in advance. In other words, if, after five days’ reading, you do not feel that the book is worth $3, the sum asked, return it and you will owe nothing. When you receive your copy for examination 1 suggest that you first read the ar- ticles on the law of great thinking; how to develop analytical powers; how to perfectly concentrate on any subject; how to guard against er- rors in thought; how to drive from the mind unwelcome thoughts; how to develop fearlessness; how to use the ntind in sickness; how to ac- quire a dominating, personality. Never before have business men and women needed this help so badly as in these trying times. Hundreds of real and imaginary ob- stacles confront us every da.v, and only those who are masters of themselves and who hold their heads up will succeed. “Power of Will,” as never before, is an absolute necessity — an investment in self-cul- ture which no one can afford to deny himself. Some few doubters will scoff at the idea of will power being the fountain-head of wealth, position and everything we are striving for. But the great mass of intelligent men and women will at least investigate for themselves by sending for the book at the publisher’s risk. I am sure that any book that has done for me — and for thousands of others — what “Power of Will” had done — is well worth investigating. It is interesting to note that among the 250,000 owners of “Power of Will” are such promi- nent men as Supreme Court Justice Parker; Wu Ting Fang, ex-U. S. Chinese Ambassa- dor; Gov. McKelvie, of Nebraska; Assistant Postmaster-General Britt; General Manager Christeson, of Wells-Fargo Express Co.; E St. Elmo Lewis; Arthur Capper, of Xansas, and thousands of others. In fact, today “Power of Will” is just as important, and as necessary to a man’s or woman’s equipment for success as a dictionary. To try to suc- ceed without “Power of Will” is like trying to do business without a telephone. As your first step in will training, I suggest immediate action in this matter before you. It is not even necessary to write a letter. Use the form below, if you prefer, addressing it to the Pelton Publishing Company, 43-B Wilcox Block, Meriden, Conn., and the book will come by return mail. This one act may mean the turning point of your life, as it has meant to me and to so many others. The cost of paper, printing and binding has almost doubled during the past three years, in spite of winch “Power of Will” has not been increased in price. The publisher feels that so great a work should be kept as low-priced as possible, but in view of the enormous in- crease in the cost of every manufacturing item, the pres- ent edition will be the last sold at the present price. The next edition will cost more. I urge you to send in the coupon now. PELTON PUBLISHING COMPANY 43-B Wilcox Block, Meriden, Conn. I will examine a copy of “Power of Will” at your risk. I agree to remit $5 or remail the book in 5 days. Name Address City State. (1) (2) (3) (4) vis for her who desires beauty. She is wont to anoint her limbs with oil of palm and oil of olives. There cause to flourish these ointments — the skin. As for oil of palm and oil of olives, there is not their like for reviving, making sound and purifying the skin. Explanatory Note — At the ri^ht is a translation of the story of palm and olive oils written in the hieroglyphics of 3000 years a^o. The characters and the translation are correctly shown according to the present day knowledge of the subject. Read hieroglyphics down, and to the riAht. The History Back of Modern Beauty WHEN the royal women of ancient Eg,ypt learned the value of Palm and Olive oils they made a discovery to which modern users owe Palmolive. For this famous soap contains the same rare oils, the luxury of famous queens 3000 years ag,o. Its hland, frag,rant lather is the final perfection of the blend which is old as history. Palmolive Shampoo also contains the same Palm and Olive oils, keep- ing, the hair soft and flossy with their mild yet thoroug,h cleansing qualities. Palmolive is sold everywhere by leading dealers — wartime price, two cakes for 25c. It is supplied in ^uest-cake size at those hotels most famous for de luxe service. _Send 25 cents in stamps for Travelette case, containing miniature packages of ei^ht popu- lar Palmolive specialties attractively packed. THE PALMOLIVE COMPANY Milwaukee, U. S. A. The Palmolive Company of Canada, Limited . Toronto, Ontario APRIL BLANCHE SWEET Paramount and Artcraft Stars’ Latest Productions Here are their latest productions listed alphabetically, released up to February 28th. Save the list! And see the pictures! Paramount John Barrymore in 'Here Comes the Bride" Enid Bennett in “Happy Tho Married" Billie Burke in “The Make-Believe Wife" Lina Cavalier! in “Two Brides" Marguerite Clark in "Mrs. Wiggs of The Cabbage Patch” Ethel Clayton in “Maggie Pepper" Dorothy Dalton in “Hard Boiled” Pauline Frederick in “Paid in Full" Dorothy Gish in “Hope Chest" Lila Lee in "The Secret Garden" Vivian Martin in “You Never Saw Such a Girl” John Emerson-Anlta Loos Produc- tion Shirley Mason and Ernest Truex in “The Winning Girl” Charles Ray in “The Girl Dodger” Wallace Reid in “The Dub” Bryant Washburn in “Venus in the East" Paramount- Artcraft Specials “The Hun Within” with a Special Star Cast “Private Peat” with Private Harold Peat “Sporting Life” A Maurice Tourneur Production “The Silver King” starring William Favershara “Little Women” (from Louisa M Alcott's famous book) a Wm. A. Brady Production “The False Faces,” A Thomas H. Ince Production Artcraft Enrico Caruso in “My Cousin” George M. Cohan in “Hit the Trail Holiday” Cecil B. De Mille’s Production “Don't Change Your Husband” Douglas Fairbanks in “Arizona” Elsie Ferguson in “His Parisian Wife” D. W. Griffith’s Production “The Romance of Happy Valley" William S. Hart in “Breed of Men” Mary Pickford in “Johanna Enlists” Fred Stone in “Under the Top" *Supervision of Thomas H. ince Paramount Comedies Paramount-Arbuckie Comedy “Love” Paramount-Mack-Sennett Comedies “Rip and Stitch — Tailors," “East Lynne with Variations” Paramount-Flagg Comedy “One Every Minute" Mr. and Mrs. Sidney Drew in Paramount- Drew Comedy, “Romance and Rings" Paramount- Bray Pictograph One each week Paramount- Burton Holmes Travel Pictures One each week What’s on tonight? ” Sometimes it’s the man of the house and some- times it’s the woman that starts the ball a^rolling. An eventful evening two or three times a week is an important part of the art of enjoyable home life. Now that the Eamous Players - Lasky Corporation has taken the guess-work out of motion pictures you can bank on the evening coming off right. Is it a Paramount Picture? Is it an Artcraft Picture? Those are the key questions. The reputation of the foremost stars, of the greatest directors, of the topmost and largest motion picture organization is vested in and richly expressed by Para- mount and Artcraft Pictures. Those brand names have natu- rally come to mean a whole lot to America. They sum up the cream of the national entertainment. Don’t take chances with your evenings. Be sure it’s a Para- mount or Artcraft Picture. Note current releases in panel. y^ammount and Jioiion pictures ^ These two trade-marks are the sure way of identifying Paramount and Artcraft Pictures— and the theatres that show them. FAMOUS PLAYERS -lASKY CORPORATION ADOLPH ZUKOR Pres. JESSE L.LASKY Wle Pres CECIL B. DE MILLE DirvetorGeneraL All ^MEW YORIO ' 5 The Secret of Being a Convincing T alker How I Learned It in One Evening By GEORGE RAYMOND if TAVE you heard the news about Frank jl^ Jordan?” This question quickly brought me ji,} the little group which had gathered in the [inter of the office. Jordan and I had started ijith the Great Eastern Machinery Co., within Imonth of each other, four years ago. A year ^0, Jordan was taken into the accounting di- [sion and I was sent out as salesman. Neither I us was blessed with an unusual amount of Ifilliancy, but we “got by” in our new jobs tijell enough to hold them. Imagine my amazement, then, when I heard; I “Jordan’s just been made Treasurer of the fi |ompany !” I could hardly believe my ears. But there ,as the “Notice to Employees” on the bulletin I bard, telling about Jordan’s good fortune. ilNow I knew that Jordan was a capable fel- Iw, quiet, and unassuming, but I never would ive picked him for any such sudden rise. I lew, too, that the Treasurer of the Great astern had to be a big man, and I wondered ,ow in the world Jordan landed the place. I The first chance I got, I walked into Jordan’s !ew office and after congratulating him warm- r, I asked him to let me “in” on the details 'f how he jumped ahead so quickly. His story I so intensely interesting that I am going to ppeat it as closely as I remember. “I’ll tell you just how it happened, George, tecause you may pick up a pointer or two that (ill help you. “You remember how scared I used to be 'henever I had to talk to the chief? You re- member how you used to tell me that every time I opened my mouth I put my foe' into St, meaning . course that e v e r \> time I spoke I got into trouble? You re- member when Ralph Sinton left to take charge of the West- ern office and I was asked to present him with the loving cifp the boys gave him, how flustered I was and how I couldn’t say a word because there were people around? You remem- ber how confused I used to be every time I met new people? I couldn’t say what I wanted to say when I wanted to say it; and I determined that if there was any possi- ble chance to learn how to talk I was go- ing to do it. “The first thing I did was to buy a number of books on public speaking, but they seemed to be meant for those who FREDERICK HOUK LAW As educator, lecturer, ex- ecutive, traveler and author few men are so well equip- ped by experience and training as Dr. Law to teach the art of effective SipeaWng. His “Mastery of Speech'* Is the fruit of 20 years active lecturing and instruction in Eastern schools and colleges pre- ceded by an education at Oxford Academy, Amherst College, Columbia Univer- sHv, The Teachers College, Brown University, and Ne\v York University. He holds the degrees of A.B., A.M. and Ph.D. Dr. Law is the author of two novels, two books of poetry, and editor of six school textbooks. At pres- ent he is lecturer in Eng- lish in New York Univer- sity, Lecturer in Pedagogy in ♦^^he Extension Work of me College of the City of New York. Head of the LDepi. of English in the Stuyveaaj.* H. S. and writer of the Weekly Les- son Plans for Tlie Inde- pendent. wanted to become orators, whereas what I Treasurer. Between you and me, George, wanted to learn was not only how to speak my salary is now $7,500 a 3'ear and I expect in public but how-to speak to individuals it will be more from the first of the year, under various conditions in business and social “And I want to tell you sincerely, that I life. attribute my success solely to the fact that I “A few weeks later, just as I was about to learned how to talk to people.” give up hope of ever learning how to talk interestingly, I read an announcement stating * * * that Dr. Frederick Houk Law of New York ^^en Jordan finished, I asked him for the University had just completed a new course ^^e publishers of Dr. Law’s speaking en- course, and he gave it to me. I sent for it Mastery of Speech. The course was found it to be exactly as he had stated, offered on approval without money m ad- After studying the eight simple lessons I yance so since I had nothing whatever to ^egan to sell to people who had previously lose by examining the lessons, I sent for refused to listen to me at all. After four them and in a few days they arrived. I months of record breaking sales during the glanced through the entire eight lessons, dullest season of the year, I received a wire reading the headings and a few paragraphs from the chief asking me to return to the here and there, and m about an hour the home office. We had quite a long talk in whole secret of effective speaking was opened ^hich I explained how I was able to break 1 T 1 j 1 T , j 1 records — and I was appointed Sales For example, I learned why I had a ways Manager at almost twice my former salary, lacked confidence, why talking had always j know that there was nothing in me that seemed something to be dreaded whereas it had changed except that I had acquired the IS really the simplest thing in the world to ability to talk where formerly I simply used get up and talk. I learned how to secure “words without reason.” I can never thank complete attention to what I was saymg and Jordan enough for telling me about Dr. Law’s how to make everything I said interesting Course in Business Talking and Public Speak- forceful and convincing. I learned the art of mg. Jordan and I are both spending all our listening, the value of .silence, and the power of spare time making public speeches on war brevity. Instead of being funny at the wrong subjects and Jordan is being talked about now time, I learned how and when to use humor Mayor of our little Town. With telling effect. “But perhaps the most wonderful thing about the lessons were the actual examples So confident is the Independent Corporation, pub- of what things to say and when to say them Ushers of “Mastery of Speech,” Dr. Law’s Course in to meet every condition. I found that there Business Talking and Public Speaking, that once you was a knack in making oral reports to my have an opportunity to see in your own home how superiors. I found that there was a right way hour, learn the secret of speaking and and a wrong way to present complaints, to principles of effective speech give estimates, and to issue orders. vo-lThe I picked up some wonderful poir^ters about Don’t send any money. Merely mail the coupon or how to give my opinions, about how to answer write a letter and the complete Course will be sent, complaints, about how to ask the bank for a all charges prepaid, at once. If you are not entirely loan, about how to ask for extensions. An- satisfied send it back any time within five days after Other thing that struck me forcibly was that you receive it and you will owe nothing, instead of antagonizing people when I didn’t On the other hand, if you are as pleased as are the asrree with them I learned how to brinsr thousands of other men and women who have used fhem around 10% 4vS o£ thinkitlg in thf r”";"*- '’“•.'S* most pleasant sort of „a. Then, of course, “ along with those lessons there were chapters on speaking before large audiences,^ how to examination COUPON find material for talking and speaking, how to talk to friends, how to talk to servants, and how to talk to children. | 1 J 1. a* “Why, I got the secret the very first eve- lllClCpCIlClCnt GOFDOrSltlOIl ning and it was only a short time before I ^ ^ was able to apply all of the principles and Publishers of The Independent Weekly, found that my words were beginning to have 1^.574^ ^Vest 40th Street, New York an almost magical effect upon everybody to whom I spoke. It seemed that I got things Please send me Dr, Frederick Houk Law’s “Mastery done instantly, where formerly, as you know, of Speech,” a Course in Business Talking and Public what I said ‘went in one ear and out the Speaking in eight lessons. I will either remail the other.’ I began to acquire an executive ability Course to you within five days after its receipt, or that surprised me. I smoothed out difficulties y°v $5. like a true diplomat. In my talks with the chief I spoke clearly, simply, convincingly. Then came my first promotion since I en- tered the accounting department. I was given the job of answering complaints, and I made Address good. From that I was given the job of making collections. When Mr. Buckley joined the Officers’ Training Camp, I was made M.p.c. 4-i9 (Three) OPPORTUNITY MARKET OLD COINS WANTED AGENTS WANTED New 26t‘. Combination. Agents 6c. and 7c. Williams’ famous Washing Tablets. 25 other useful household articles on equally special extra liberal terms. United Soap Works, Dept. 18, 98 Park Place, New York. BEAUTY PREPARATIONS Superfluous Hair quickly and permanently removed without scarring*. Stationary Multiple electric needle. Warts, Moles, and Birthmarks painlessly removed. Particulars, Mme. Walker, 1 West 34th St. Phone 2363 Greeley. HAIR cm FACE. BODY OR UNDER ARMS positively removed with root; no electricity nor poisonous drugs; absolutely harmless and painless; write for particu- lars, or call for free demonstration. Mme. Berthe, Specialist. 12 West 40th St., N. Y. BUSINESS OPPORTUNITIES Branch Manager Wanted for old established Chicago concern. We furnish full stock of goods, adver- tising matter, and equip store completely, in good location, all at our expense and pay you $40.00 a week salary, in addition to liberal share of the profits your store earns. Work can be started in spare time. No investment or previous experience necessary to secure this position. If you are a hustler and want an opportunity to make $5,000 to $16,000 a year we want you and will pay you well from the start. Send me your application today. S. Levy. Mgr., Department 660, Como Bldg., Chicago, III. FEMALE HELP WANTED WANTED — 5 bright, capable ladies for 1919, to travel, demonstrate and sell dealers. $25.00 to $50.00 per week. Railroad fare paid. Write at once. Goodrich Drug Co.. Dept. 16, Omaha, Neb. liBdles — Fascinating home business tinting postcards, pictures, photos, etc., spare time for profit. $5 on 100; no canvassing: samples lOo (stamps). Particulars free. Artlnt. 813-G, Station A, Brooklyn, N. T. Women To Sew. Goods Sent Prepaid To Tour Door; plain sewing; steady work; no canvassing. Send •tamped envelope for prices paid. Universal Co., Dept. $2, Philadelphia. Pa. GAMES AND ENTERTAINMENTS New Patriotic Plays, Recitations, Entertainments for war-time benefits, vaudeville sketches, monologues, drills, tableaux, make-up goods. Large catalog free. T. S. Denison & Co., Dept. 63, Chicago. HELP WANTED D. S. Government Peace Positions open. Men 16 or over. Women, 18 or over. $90 to $150 month. Work In your home section. Paid vacations. Common edu- cation sufficient. Pull unnecessary. List positions open — free. Write Immediately. Franklin Institute, Dept. B-78, Rochester, N. Y. Hundreds U. S. Government Permanent Positions now open to men, 16 or over; women 18 or over. $90 to $126 month. Many in your home section. Short hours. Common education sufficient. List positions free. Write immediately. Franklin Institute, Dept. C-78, Rochester. N. Y. MOVING PICTURE BUSINESS $35.00 Profit Nightly. Small capital starts you. Out- fits sold on Installments. No experience needed. Our machines are used and endorsed by Government insti- tutions. Catalog free. Atlas Moving Picture Co., 426 Morton Bldg., Chicago. Mr. Harry Lyons, of 1 Hyde Park Street. London, England, wishes to get into direct communication with the principals of the rumored combine for purchase of Cinema Theaters, as he has a most important group for sale. Mr. Lyons is the negotiator of a large number of purchases of Theaters, Variety Theaters and sites generally. NEWS CORRESPONDENTS Earn $25 Weekly, spare time, writing for newspapers, magazines. Experience unnecessary; details free. Press Syndicate, 661 St. Louis, Mo. **01d Money Wanted.*' $2 to ?500 each paid for hun- dreds of coins dated before 1895. Keep all old money. Send 10c for new illustrated coin value book, size 4x6. You may have coins worth large premiums, Get posted. Clarke Coin Co., Box 156, Le Roy, N. T. PATENTS PATENTS. Write for free Illustrated gruide book; send model or sketch for free opinion of its patentable nature. Highest references, prompt attention, reason- able terms. Victor J. Evans & Co., 621 9th, Wash- ington, D. C. INVENTORS. Send Sketch and Description of your In- vention for Advice Regarding Patent Protection. Twenty Years’ Experience. Our Hand-book on Patents is sent Free on Request. All communications strictly con- fidential. Write us today. Talbert & Talbert, Patent Lawyers, 4723 Talbert Bldg., Washington. D. C. PHOTOPLAYWRIGHTS See Here! We want your ideas for photoplays and stories! Criticised free. Sold on commission. Send for guide. MS. Sales Co., Dept 95, Poughkeepsie, N. Y. $38,000 for a photoplay idea! Mary Pickford paid it. YOUR idea may be worth a fortune. Experienced film man will facilitate the sale of rough ideas, synop- sis and scenarios for a few talented beginners. Write for details to G. A. Stradere, 309 Broadway, New York City. (An Authors’ Representative: NOT a school. ) FREE TO WRITERS — A wonderful little book of money-making hints, suggestions, ideas; the A B C of successful story and movie play writing. Absolutely Free. Just address Authors’ Press, Dept. 14, Auburn, N. Y. SONG POEMS WANTED You Write the Words for a Song. — Submit poems on patriotism, love or any subject. We write music, guar- antee copyright, and assist in securing publisher. Metropolitan Studios, Room 104, Morton Bldg.. Chicago. SONG WRITERS Write the Words for a Song. We write music and guarantee publisher’s acceptance. Submit poems on patriotism, love or any subject. Chester Music Co., 538 So. Dearborn St., Suite 193, Chicago. WRITE A SONG — Dove, mother, home, childhood, patriotic or any subject. I compose music and guar- antee publication. Send words to-day. Thomas Merlin, 269 Reaper Block, Chicago. Write the Words for a Song. — We revise poems, com- pose music for them and guarantee to secure publica- tion on royalty basis by New York music publisher. Our Chief Composer is a song-writer of national reputa- tion and has written many big song-hits. Submit poems on any subject. Broadway Studios, 107-A Fitzgerald Bldg., New York. WRITE THE WORDS FOR A SONG. If available we will write the music and guarantee publisher’s accept- ance. Send poems on love, victory, or any subject. Fairchild Music Co., Suite 20-U, 203 Broadway, New York. , STORIES WANTED Wanted — Stories, articles, poems for new magazine. We pay on acceptance. Handwritten MSS. acceptable. Send MSS. to Woman’s National Alagazine, Desk 592, Washington, D. C. Earn $25 Weekly, spare time, writing for newspapers, magazines. Experience unnecessary; details free. Press Syndicate, 561 St. Louis, Mo. GAMES AND ENTERTAINMENTS Acts, Plays, Entertainments, Etc., written to order. Terms for a stamp. Catalogs of plays, acts, sketches, wigs, etc., free. E. L. Gamble, Playwright, East Liv- erpool, layers^ each one chosen for his or her special fit- ness for the part. Not “stories to fit a particular star,” but “special stars to fit the story.” This is another reason why Blackton Productions are worth while. 5e ‘‘The Common Cause “Missing’^ ^ “Life’s Greatest Problem” “A House Divided” Or any other production froni“7"/^^ Hand of Blackton" BLACKTON PRODUCTIONS INCORPORATED Studios, 423 Classon Avenue, Brooklyn, N.Yo 25 West 45th Street, New York City (Nme) W^hy My Memory Rarely Fails Me and how the secret of a good memory may be learned in a single evening NOTE: When I asked Mr. Kotli to tell in liis own words, for nation-wide publication, the remarkable story of the development of his system for the cure of bad memories, I found him reluctant to talk al)0Ut himself in cold print. When I reminded him that he could do no finer service than to share his story with others — just as he is sharing his method for obtaining a better memory with thousands who are studying his famous Memory Course — he cordially agreed to my proposal. And here is his story. — President Independent Corjwratioru Fifty members of the Rotary Club were seated in the banquet hall of the Hotel McAlpin in New York. I was in- troduced to each member in turn, and each gave me his telephone number and told me his occupa- tion. An hour later, after they had changed seats while my back was turned to them, I called DAVID M. ROTH each man by name, gave his telephone number and named his occupa- tion, without a single error. The following evening, in the office of a large business institution, I asked the presi- dent of the concern to write down fifty words, numbers and names, and to number each item. An hour later I called out each item, and gave the number opposite which it had been written. At another time I glanced at the license numbers of a hundred and five automobiles which passed. These numbers were written down by witnesses, in the order in which the cars passed. Later I called each number cor- rectly and gave the order in which the num- bers went by. From Seattle to New York I have appeared before salesmen’s meetings, conventions, and Rotary Clubs giving demonstrations of my memory. I have met over 10,000 people in my travels. Yet I am quite sure I can call nearly every one of these men and women by name the instant I meet them, ask most of them how the lumber business is or the shoe business or whatever business they were in when I was first introduced to them. People wonder at these memory feats. Hundreds have asked me how I can store so many facts, figures, and faces in my mind, and recall them at will. And they are even more mystified when I explain that my memory used to be so poor I would forget a man’s name twenty seconds after I met him! In fact that was what led me to investigate and study the cause of poor memory and the remedy. For years I had read books on psychology, mental culture, memory and other subjects. All of these books were good, but none of them was definite or easy enough. So I labored until I found out what it was that enabled me to remember some things while I forgot others. Finally I worked out a system that made my memory practically infallible. I explained my system to a number of friends and they could hardly believe it pos- sible. But some of them tried my method FREE EXAMINATION COUPON Independent Corporation Publishers of The Independent Weekly Dept. R-574 119 West 40th Street New York Please send me the Roth Memory course of seven lessons. I will either reniall the course to you within five da^’S after its receipt or send you $5. Name Address M. P. C.-4-19 By DAVID M. ROTH and invariably they told me they had doubled their memory power in a week. They got the method the first evening and then de- veloped it as far as they cared to go. The principles which I had formulated in improving my own memory were so simple and so easy to apply that I decided to give my method to the world. At first I taught my memory system in per- son. My classes, in Rotary Clubs, banks, de- partment stores, railway offices, manufacturing plants and every kind of business institution grew amazingly in size and number. Memory teaching became my sole profession, and a wonderful experience it has been all the way from Seattle to New York City. I soon realized that I could never hope to serve more than a small fraction of those who needed my memory system and were eager to take it up unless I put it into a home-study course which people could acquire without personal instruction. The Independent Corporation, whose Pres- ident, Mr. Karl V. S. Howland, had become interested in my work as a member of my Rotary Club class in New York, saw the large possibilities of my Course as an element in their broad program for personal efficiency and self-improvement. So it was my pleasure to join forces with this great publishing house, and the Roth Memory Course, in seven simple lessons, was offered to the public at a price of $5 (corre- spondence courses having been sold hitherto at anywhere from $20 to $100.) No money in advance was to be asked, the idea being that the Course must sell itself purely on its merits. As you have doubtless observed, an exten- sive advertising campaign was launched by my publishers with full page announcements in all the leading periodicals of the country and in many leading newspapers. This campaign has continued without a let- up and with ever growing momentum. From the very start this advertising be- came successful. The idea spread. Orders came in from everywhere. Edition after edi- tion of the lessons was printed and still thous- ands of orders could not be filled. The promise was made that the Course would improve any man’s or woman’s mem- ory in one evening. And it did! Letters of praise began to pour in almost as fast as the lessons were shipped — and have kept up ever since in a veritable flood. For example, Alajor E. B. Craft, Assistant Chief Engineer of the Western Electric Com- pany, New York, wrote: "Last evening was the first opi^rtunity I had to study the course, and in one sitting 1 succeeded in learning the list of 100 words forward and backward, and to say that I am delighted with the method Is putting it very mildly. I feel already that 1 am more than repaid in the real value and enjoyment that I have got out of the first lesson." Read this letter from Terence J. McManus, of the firm of Olcott, Bonynge, McManus & Ernst, Attorneys and Counsellors at Law, 170 Broadway, and one of the most famous trial lawyers in New York: "May I talre occasion to state that I regard your service in giving this system to tlie world as a public benefaction. The wonderful simplicity of the method, and the ease with which its pruiciples may be acquired, especially appeal to me. I may add that I aJready had occasion to test the effectiveness of the first two lessons in the preparation for trial of an important action in which 1 am about to engage." McManus didn’t put it a bit too strong. And here is just a quotation from H. O. (Multigraph) Smith, Division Manager of the Multigraph Sales Co., Ltd., in Montreal: "Here is the whole thing in a nutshell; Mr, Roth has a most remarkable Memory (’ourse. It is simple and easy as falling off a log. Yet with one hour a day of practice anyone — I don't care who he is — can improve his M^anory in a week and have a good mem- ory in six months." Then there is the amazing experience of Victor Jones, who increased his business $100,000 in six months. And there are hun- dreds and thousands of others who have studied the Course and who have secured greater benefit from it than they dreamed possible. Perhaps the main reason why my method is so successful is because it is so ridiculously simple. You get the method of obtaining an infallible Memory in one evening — in the very first lesson. Then you develop your memory to any point you desire through the other six lessons. There are only seven les- sons in all. Yet the method is so thorough that your memory becomes your obedient slave forever. And instead of being hard work, it as fascinating as a game. I have re- ceived letters from people who say the whole family gathers around the table for each lesson! Men and women from coast to coast have thanked me for having made it so easy for them to acquire an infallible memory. As one man said: "Memory anfl good judgment go hand in hand. Our judgment is simply the conclusions we draw frou. our experience, and our experience is only the sum tu-tal of what we remember. I now store away in m^’ mind eve^ valuable fact that relates to my business, whether it is something 1 hear or read, and when the proper time conies 1 recall all the facts I need. Before 1 studied the Roth Course it took me three times as long to gain experience simply because I forgot so many facts." And how true that is! We say of elderly men that their judgment is “ripe.” The rea- son it is ripe is because they have accumu- lated greater experience. But if we remember all the important facts we can have a ripened judgment 15 or 20 or 30 years sooner! Thousands of sales have been lost because the salesman forgot some selling point that would have closed the order. Many men when they are called upon to speak fail to put over their message or to make a good impres- sion because they are unable to remember just what they wanted to say. Many decisions involving thousands of dollars have been made unwisely because the man responsible didn’t remember all the facts bearing on the situation, and thus used poor judgment. In fact, there is not a day but that the average business man forgets to do from one to a dozen things that would have increased his profits. There are no greater words in the English language descriptive of business inefficiency than the two little words, “I forgot.” My pupils are gracious enough to say that nothing will make that fatal phrase obsolete so quickly as the memory system it has been my good fortune to evolve. Mr. Roth has told his story. It now remains for you to turn it into dividends. This will happen, we are sure, if you will spend the fraction of time it requires to send for his complete Course on absolute approval. After a few hours spent with the Roth Memory Course the fear as well as the tragedy ot forgetting shoidd be largely eliminated. You will obtain a fascinating new sense of confidence and power. Not only that, but you will have a sense of free- dom that you never felt before. You will be freed of the memorandum pad, the notebook, and other artificial helps to which most of us are slaves. So confident is the Independent Corporation, the publishers of the Roth Memory Course, that once you have an opportunity to see in your own home ho_w easy it is to double, yes, triple your memory power m a few short hours, that they are willing to send the course on free examination. Don*t send any money. Merely mail the coupon or write a letter and the complete course will be sent, all charges prepaid, at once. If you are not entirely sat- isfied send it back any time within five days after you receive it and you will owe nothing. On the other hand, if you are as pleased as are the thousands of other men and women who have used the course, send only $5 in full payment. You take no risk and you have everything to gain, so mail the coupon now. (Ten) ALICE JOYCE There may be stars who photograph more beautifully than Miss Joyce, but it’s rather hard to think of ’em in a hurry. Alice has been a joy to the screen since 1910, when Kalem first discovered her — a popular New York art model. Miss Joyce was just optically fascinating then. Now she’s an actress of both beauty and emotional force. fe MARGUERITE CLARK Marguerite started out with dramatic aspirations, but the musical comedy stage first won her. It was with De Wolf Hopper, her four feet of in- genuousness being a striking contrast to his elongated com- edy. Then came the drama, and finally the screen, w'here Miss Clark has reached her greatest success. A varied ca- reer, indeed 1 ! ROSEMARY THEBY Rosemary is a graduate of the famous Blackton-Smith I" school of the photoplay, the old Vitagraph Company. Later on, Rosemary tried comedy with Harry Myers for a time. Now, however. Miss Thehy is back in serious photoplays again. She was in Griffith’s I “The Great Love” and is now with Metro VIVIAN MARTIN At the age of six Vivian was play- ing a kiddie in Rostand’s “Cyrano de Bergerac” with Richard Mansfield. At fourteen she was playing the title role in the road company of Barrie’s “Peter ' Pan.” Now, at — well, anyway — ^.she’s a Paramount star. In other words, Vivian has merited every advancement in her career. And Miss Martin, by the way, has been showing decided progress on the screen latclj' BARBARA CASTLETON Barbara first dreamed of success on the musical stage, being a cousin of the star, Louise Gunning. By chance she decided to try the movies as an extra. Herbert Brenon saw her and gave her a special role in “A Daughter of the Gods” with Annette Kellermann. Since that time her progress has been steady. Her recent work in “The Silver King” with William Faversham was the best of her career The Celestial Nazimova Alla Nazimova has another exotic role in Metro’s special production of Edith Wharry’s novel, “The Red Lantern,’’ which was adapted to the screen by June Mathis and Albert Capellani. Mr. Capellani is the di- rector of “The Red Lantern,” which is a picturesque Chinese story.’ (Sixteen) i J The Star on the Defensive By FREDERICK JAMES SMITH ikROBABLY no more significant thing IF has occurred in all screendom than the organization formed by Mary 'ckford, Douglas Fairbanks, William S. Hart,' (larlie Chaplin and David Wark Griffith and called the United yi'tists’ Distributing Association. That is, these stars are g|ing to independently produce and release their own photo- flAll sorts of rumors and reported reasons have come from t5 coast, but the one most broadly talked about is that these isjirs feared certain impending amalgamations and combina- tns of producers were against their best interests. Hence, ti defensive organization. \The star on the defensive! jAll of which leads to many conclusions. “The organization i|i’t going to shock the world,” one producer said. “It means 5|5t one thing — that the star, being his own boss, will pay him- j f just what he receives for his pictures, minus his expenses -jin other words, just what he is worth. And it wont be what 1 is asking from producers !” iBut the thing goes deeper than a mere fluctuation in the fp market. For the first time in the history of pictures, the star is on the d e f e n - Motion Picture Stars' Reasons for Combine The folloiPing sUitement was issued yesterday afterrwon by the **big five" concerning the new comb'cnation of motion picture stars: UK new combltiation of motion picture stars and producers was formed yesterday, and we. th.e undersigned. In furtherance of the artistic welfare of the moving picture Industry, believing we can better s^rve the great and growing industry of picture produc- tions. have decided to unite our work Into one association, and at the finish of existing contracts, which are now rapidly drawing to a dose, to release our combined productions through our own organization This new organization, to embrace the very boat actors and producers Id the motion picture buslneas. Is beaded by the following well-known wars'. Mary PlcUf^rd. Douglas Fairbanks. William S Hart, Charlie Chaplin and D W Griffith producifona. all of whom have proven their ability to make productions of value both artistically .'ind financially. “We believe this is necessary to protect the exhibitor and the In- dustry Itself, thus enabling the exhibitor to book only pictures that he wishes to play and not force upon him (when he Is hooking films to please bis audience) other program films which he does not desire, bellevlog that as servants of the people we ran thus best serve the people We also thidk that this' step is positively and absolutely neec.s- oary to protect the great motion picture public from threatening com- binations and trusT.s that would force uponiihem mediocre uroductlons and machine-made entertammeni. (Signed) "r>Qt.pd at Lns Angplas. .Ian 1.^ 1919' sive. The Pickford- Fair- banks- H a r t - Chaplin- Griffith combina- tion may fall thru, nothing may come of it, but the fact remains that the star is passing the point of sky- scrape r salaries. What will hap- Fac- simile of the signed statement issued by the “B i g Five” and p u b 1 i shed by the Los Angeles Examiner pen t What will happen to the producer of one- a- week and two-a-week pictures if his best stars de- part? If there are no big stars who draw to pull over the deadwood stars who dont? Will the turning out of pictures like breakfast food or flivvers wane and die? Adolph Zukor, head of Famous Players-Lasky, made an interesting statement regarding this angle. “We will go right ahead and create' new stars to take the places of those who are leaving our programs i*pon the expiration of their con- tracts. We have been creating new stars ever since we entered the industry and we believe we can be successful by continuing to do so.” Does the way to combat the so-called star menace lie in creating more stars? Again, is it possible? Did Famous Players-Lasky create any drawing stars during the past year, from Lila Lee down? On the other hand, consider the official statement of David Griffith, wired exclusively to The Classic: “The dominant purpose of this movement is to provide pro- tection for the American people who patronize motion pictures. The public, thru the exhibitors, has been unable to see the pictures they most enjoyed without being forced to see pictures they did not want. “To get the films of Douglas Fairbanks, Mary Pickford, Charlie Chaplin, William S. Hart and some others, the ex- hibitor has been forced by the distributing agencies to accept also pictures of lesser merit. “We are willing to make certain pictures which we do not expect to make money, nor care whether or not they do make money. The reward of fame and glory for advancing the art is sufficient. But under the program method we are forbidden to make pictures other than the type of picture that has been found money-makers. “We expect to cooperate with the exhibitors in effecting a distributing system which will be fair, impartial and sensitive to the public’s wants. We shall ask the public to see nothing it does not wish to see. This is not to be an exclusive associa- tion. We shall ally ourselves with the foremost talent — that is, proven talent — talent that appeals to the public. The names mentioned are merely leaders, who have taken the first step. But we have the sympathy and support of many others. “This action is not taken in condemnation of any individuals. It is a protest against a system. It is a declaration of inde- pendence against an outworn condition that has not served as it should either the theater, public or the producers. Dictation has come from business men, who acted according to their light. But we believe the production of motion pictures to be an art, and that those who have served long apprenticeship, achieving their success purely thru their personal efforts, should have more voice. “We saw that there was a trust forming here, an {Continued on page 79) (Seventeen) i A Dozen Chaplins, ai( They’re All Charlh By HARRY C. CARR There is one Charlie Chaplin on the screen whom everybody knows. There are a dozen other Charlie Chaplins known only to his intimate friends and his neighbors in Los Angeles. There is a ringside-seat-at- the-prize-fights Charlie Chaplin, there is a big busi- ness investor Charlie Chap- lin, there is a star dinner guest Charlie Chaplin, a violinist Charlie Chaplin and a lot of other Charlie Chap- lins that nobody knows about outside of his own home town. Also there is a “my son, Charlie Chap- lin,” known to a little English lady across the water. Charlie's studio is one of the most beautiful places in Los Angeles. It is on the edge of Hollywood, the motion picture suburb. The rugged peaks of the Sierra Madres frown down upon it from the north, while to the south and west a long valley stretches away to the sea. You can see the Pacific shimmering in the distance like a sheet of silver. The studio looks like an old English village; all the offices are built like quaint English cottages. You can always be sure of hearing music somewhere arour the place, especially when a picture is in the making. Chapli is an accomplished violinist. Somewhere in among the not* that come from his fiddle are his motion picture “hunches hidden. Charlie is always his own director, and he works vei slowly ; he literally fiddles around in his pictures. Charlie is working on a motion picture now. The oth« day they made up the first set. Charlie came out in his bi, shoes and his funny little derby. All alone he walked out lj the set. Trained by experience, the other actors went awa and left him to himself. Charlie was about to begin “sniffing for an idea. ’i For a solid hour he walked around that set. A boy woul have said he was “just foolin’ around.” He picked up proj and put them down again. He pulled skittishly at the rope controlling the light-diffusers overhead. Then for a while 1: simply walked around and around the set with his duck fe* and his little cane. I'hat is the way he gets his hunches. In the midst of his meditatior a brash extra man came u] snickering , to himself. Hi had the greatest idea evt encountered by mortal braiij It was so funny tliat he coul hardly get out the words tj say it. Charlie smiled a wan little smil and moved away. The exti man relentlessL followed, all tb while expatia^ ing upon th beauties of h world-beat(_ gag.” Ilf Finalll C h a r 1 ii , managed r s h a k h At an evening party not long ago, one of Chap- lin’s friends told him how her little boy had cried be- cause he could not come also and see the adored comedian. Charlie in- sisted upon hiring a taxi and going to see the lad. For an hour he stayed there telling stories — and he forgot to go hack to the oartv (Eighteen) There’s the Comedian, the Violinist, the Star Dinner Guest, the Business Investor and the Various Other Charlie Chaplins i'harlie sidled timidly up to his manager, who was standing around the et. Charlie had the air of a child who is being pursued by an obsti'eper- lus bumble-bee. “Please tell that gentleman,” he said, “that we will not need him fter all for this picture.” And in about three seconds the extra man irith the funny bone was in search of another job. Chaplin is not intolerant of suggestions. He accepts a great many. 5ut he has a quick, active mind, and he knows without long explana- tions whether or not an idea is a live one. The best way to give him an aspiration for a “gag” is to state the bare idea without details, then walk way without forcing him to the unpleasant ordeal of saying “Yes” or No” in your presence. There is no question about it, Charlie is temperamental. Sometimes he ..all sit for an hour around the set doing absolutely nothing, waiting for “hunch.” : Unless he feels funny he wont :ork at all. No studio emergency dll induce him to act if he is not ii the mood. And he is very easily iggled out of the _mood. It is not ^frequent that the sight of a come- ian with a bad make-up on will so abbergast Charlie that he will not e able to work again that day. The •uth is, this little English artist is '3 sensitive as a taut violin string. For this reason he does his best 'ork with his own company and nder his own direction. There ai'e times in the hapliri studio when -Ou would think you Pere at an orchestra |;hearsal. Somebody playing a piano, imebody else a ’cello, id Charlie the violin. Chaplin would, in Charlie is tempera- mental. Sometimes he will sit for an hour around the set doing ab- solutely nothing, waiting for a hunch. Below is a view of the comedian with the writer, Rob Wagner fact, have been a successful professional mu.sician. As a child he was very poor. His father and mother were second- rate music-hall performers. His father died and left his mother overwhelmed by abject poverty. For a time both Charlie and his brother Syd were charity patients in an English poorhouse. Charlie says his one ambition at this time was to be an orchestra leader. He used to crawl off into a corner of the poorhouse, with a stick for a baton, and pretend that he was leading a great symphony orches- tra; the poorhouse was a great theater, glittering with lights and the diamonds of a horseshoe circle. Charlie’s mother now, by the way, lives in England, smothered in all the luxury that her nature can stand. She regards “my son Charles” as the final authority on all earthly questions. If Lloyd make a declaration on one side she gets a postal from “my son the contrary, why, the King and Lloyd George are out of luck; that’s all to it. But to return to the studio orchestra. The overture will suddenly be interrupted by the abrupt departure of the vio- linist; Charlie’s “hunch” has suddenly come. But even after the “hunch” comes, he is a slow and {Continued on page 71) George and the King of some question and Charles” intimating to (Nineteen) Corinne Griffith loves the photoplay, beautiful cos- tumes, chocolate cake, melodrama — and Alice Joyce. Success on the screen, she says, is really a matter of good photog- raphy and good lighting. Also a careful study of current pictures is essen- tial. Corinne goes to the movies every night 1 Corinne, Chocolate Ca( and a Deep, Dark Seen ‘r^ o you want to do me a real favor ?” asked Corinm I J Griffith, as she helped us remove our winte overcoat upon entering her Seventy- secont Street apartment. “Yes !” we replied, unanimously. Only in mere typi'l the word doesn’t carry the emphasis that we gave it For we were looking right into Miss Griffith’s blut eyes. Her reddish blonde hair fascinated us. Shi, lived up to all the promises of her screen self in he"^ gown of.- But the colors and materials have long since escape, us, if we ever did note them. But we really do rememj ber the blue eyes, the piquant hair, the superb profile** the But let us return to the chat. We gathered our mental faculties for the shock of Miss Gfif fith’s requested favor. | 11 tell you afterwards. You’re just in time to have tea with me' along with some new home-made chocolate cake.” , We subsided. What mere masculine interviewer could con centrate upon personality and dry facts when confronted witl blue eyes, Griffithian blonde locks — and chocolate cake? We decided that we had done our interview duty lonj enough and took the cake. “This favor,” we hazarded later, “what — er — is it?” “Let’s forget it for a while. Ask me lots and lots o questions.” But we dont interview people like that,” we confessed. “Wi ju.=t sit and chat and then go away and write about your aun and the color tint of your personality and that sort o thing.” “Really?” said Miss Griffith, and her blue eyes looke( sort of aghast. “I — I — think I lib the old-fashioned interview best You know the ones. Full o facts — except your age.” “Yes,” we said politely an< negatively. “But I haven’t much of ; personality,” continue! Miss Griffith. “I haven’ even pets. Had a parrot but it would get out of it cage and tear up pape and muss up the whof apartment something ter rible. So I had to get ri( of him the other day Let’s see. I read som^ when I have time.” On the table was f copy of th Monk Iliodor’ Russian con fessions. (Twenty) By FREDERICK JAMES SMITH “Do you like that?” we asked. , "Sort of,” admitted Miss Griffith. "It did rather iterest me. But with steady working at the studio, ' dont have time to do real reading. “I was born in Texarkana, Texas,” continued the ctress. “Our folks have lived there for years and ears. Grandfather Griffith was mayor of the town four mes.” We looked properly impressed. “You probably know my story. I was in New Orleans and ttended a ball there. I won a beauty prize, and Rolin Sturgeon, the ^itagraph director, noticed me. He offered me a chance to go on the reen, and I decided to take it. “My family was horrified — but they’re very proud of me now,” uighed Miss Griffith. Imagine the conceit of Texarkana these days! “The family’s gotten over the shock, but it was hard on them. Corinne was born in Texar- kana, Texas, her family hav- ing lived there for years. Grandfather Griffith was mayor of the town four times. Miss . Griffith’s antecedents were Italian and Irish, which, as Corinne admits, is “some combination.” She has an Italian family coat of arms — but they don’t bother about those things in Ireland “I’m Irish and Italian. Some combination !” Miss Griffith showed us her Italian family coat-of- arms. There was no Irish one. But Miss Griffith’s blue eyes prove her Irish antecedents. “First I went to the west coast Vitagraph stu- dios and about two years ago they brought me East,” reminisced Miss Griffith. “Then my troubles began. I simply couldn’t get the make-up right for my style of features. The outdoor work in the West had re- quired entirely different make-up. That’s why I looked simply terrible in my first Eastern pictures. You remem- ber them?” But we remained neutral by declaring we hadn’t seen them. “Well, they were,” continued the actress. “But now I'm getting it better. You know success on the screen is really, a matter of good photography and good lighting. “I didn't know the first thing about acting when they {Continued on page (Twenty one J Externally H. B. Warner is a Broadway Beau Brummel. He affects baby blue shirts and col- lars, spats, platinum and diamond scarf pins, finely cared for hands and all the external attentions that belong to the born exquisite. Yet the first thing one stumbles over in his apartment is a — baby buggy Right, Mr. Warner and Irene Bordoni in a moment of “Sleep- ing Partners’’ PRIDE of race is one of the very few stable emotions in this age of the ephemeral in all things. Pride of profes- sion is more tangible, while love of home and family is quite the provincial thing. Which, by all the rules of corollaries, should make H. B. Warner stable, tan- gible and provincial. He IS, however, effete, cosmopolitan and admittedly comme: il-faut. Simply proving that contradictory qualities make the most interesting individuals. The least rut-like the per- son, the more likelihood of his ability to breed ideas that will help make the world mo,ve on. In the realm where 'actors have their being, H. B. Warner is revolutionary; that is, he starts a revolu- tion in your mental country of preconceived conditions. Externally he is a Broadway Beau Brummel. He affects baby blue shirts and collars, spats, platinum and diamond scarf-pins, finely cared for hands and all the external attentions that belong to the born exquisite. And yet the very first thing one stumbles over in the en trance to his apartment is a — baby buggy. Now most actors warn you carefully not to mention the little wife at home, especially good-looking matinee idols of Unto the Third and' I Fourth Generati(i the H. B. Warner type. To be honest, it isn’t their fault. Their press-agents or man- agers generally insist upon it. But H. B. Vyarner is influenced by something more vital than managers. He is actuated by' pride of race. j “That’s all there is of me,’’ he says, as he leans over the white-enameled crib that cradles his six-weeks-old daughter, Joan. “In her are embodied all my hopes and aspira- tions. I live in her.’’ And one recognizes the mainspring of ex- istence. Later we left the wide-eyed bundle of his dreams and sought his tasteful living- : room, where we ' ensconced ourselves in < luxurious . brown vel- i vet chairs, i Mr. Warner ( Twenty two) The Philosophy of H. B. Warner By BARBARA BEACH slowly drew a cigaret from his silver case and lit it. “I want my daughter,” he said, ‘‘to make her stage debut on the same stage that I made mine, that my father and that my father’s father made theirs. The English stage has known four generations of Warners. I want it to know a fifth. ‘‘When I was only four years old I made my first stage appearance in ‘The Streets of London.’ My dad carried me on that I might say I first acted on the same boards that he did.” Young Warner was then sent to school and graduated from the Bedford Grammar School in England. The call of his blood carried him back to the footlights, and he started his career in earnest, playing minor roles with his father and in the Sir Beer- H. B. Warner is a per- fect example of control. He is like a Kentucky race-horse, nerves taut, sensitive, with all of his surplus speed check- reined for the life race by perfect poise and mental balance Warners were settled in their summer cottage some miles from London, they received a telegram from an American theatrical manager, George C. Tyler. Complying with the re- quest typed on the yellow slip, Charles Warner, H. B.’s father, went up to London the next day and met Mr. Tyler at the Ritz. ‘‘How-do, Charlie?” said Tyler. ‘‘Where’s that boy of yours ?” ‘‘Harry?” said Warner, Senior. ‘‘Why, yes,” said Tyler. ‘‘Didn’t he get my telegram ?” “/ got a telegram from you, George.” ‘Man alive!” said Tyler. ‘‘I dont suppose you even thought to look at the initials. I want your boy. I want to take him back to America with me.” So it happened that the next day the proper Warner met the producer. ‘‘I want you to go to America with me and play leading man for Eleanor Robson,” said Tyler. ‘‘How do you know I’ll do?” parried H. B. ‘‘You’ve never seen me act.” ‘‘I want you. You look the part. You are your father’s son. We sail the day after tomorrow — will you be ready?” {Continued on page 78) (Twenty-three) Springtime on the New York Stage “Listen, Lester,” running at the Knickerbocker Theater, is a lively, dancy musical comedy. Much of its success is due to the charming work of Ger- trude Vanderbilt and the agile dancing of Johnny Dooley. They are here reproduced in a tense terpsichorean moment “Up in Mabel’s Room” is a racy and piquant farce at the E 1 1 i n g e Theater. Dudley Hawley and Hazel Dawn have the principal roles Gymnastics for chorines Here is the athletic Vera Roehn and the pretty chorus of “The Melting of Molly” at the Broad- hurst Theater (Twenty -four) The stage year has offered no more im- ■pressive contribution than Lord Dunsany’s “The Laughter of the Gods,” produced by Stuart Walker as part of the Portmanteau season at the Punch and Judy Theater. Margaret Mower and McKay Morris do some superb work in this glowing drama The whimsical charm of Barrie makes “Dear Brutus,” at the Em- pire Theater, one of the noteworthy things of the season. Be- sides, it marks the return of the ever- welcome William Gillette (Twenty -five) Some Athlete Is Dorris Altho but sixteen, Dorris Lee can dance, ride, row, fence, run and jump over a four-foot fence with ease. Since she was a baby Dorris has had a rigid athletic training, her father being a well-known newspaper sporting writer using the pen name of “Willie Green” Doris wanted a musical ca- reer, and she was something of a prodigy at the piano. At nine she played accompani- ments to Kubelik, the violinist, in San Francisco. Then the movies came along and seized her. Miss Lee’s debut was in “His Mother’s Boy” with Charles Ray Dorris wanted a musical ca- directors because stunts are nothing to her She loves ’em and is afraid of nothing. Miss Lee will shortly be seen in another Ray picture (Tventy-six) The World to Live In Fictionized by Dorothy Donnell from the Scenario Based on W. Carey Wonderly’s Story '■OURS of the 16th inst in reply would beg Dephew quoted - Copper received, and to state that Pre f erred Rita Charles’ clever fingers danced over the words with an expe- rienced non- chalance that left her brain free to fol- low its own bent. At pres- e n t it was pleasantly oc- cupied with the wisp of tulle, the scrap of satin and hand- ful of jet She looked up with a start to find Thomas Olverson’s steely grey eyes fixed disapprovingly on her, “I have asked you twice for the Parkcr- Mills contract!” which, in combination, meant the din- ner gown she was going to wear this evening. Sup]tosing that the Recording Angel takes down people’s thoughts in celes- tial shorthand, hers would have run something as follows : “If that doesn’t bring Harrison Chalvey to time nothing will ! His family is beginning to get worried — first thing I know they’ll be packing their innocent little angel child out of harm’s way. Four o’clock and T. J. not thru yet ! I wont have time to get that marcel — what chance does a girl that works all day have against tho.se rich society dames? Wonder what T. J. would say if he knew I was riding in his own limousine last night with his son making highball love to me!’’ “Miss Charles!’’ She looked up with a start, to find Thomasi Olverson’s steely gray eyes fixed disap- j)rovingly on her. “T have asked you twice for the irker-Mills contract!’’ He looked at her, thought Rita, angrily, as she searched thru the files for the missing document, exactly as he looked at the ticker-tape or the telephone or any other ]>icce of office equipment. Rita was not a c. c u s ■ t o m e d t o having men regard her in this wise. The after- noon’s work at last over, she hurried home thru 111 a deep ciiair ill the corridor she sat discon- solately tvait- ing, outwardly calm, inwardly raging with hu- miliation and resentment (Twenty-seven) dreams tlie faint si)ring dusk, impatient of the stream of traffic that delayed her at the cross streets, even in her shabby business >uit and cheap straw turban a provocative, daring little figure which drew men’s glances like a lodestone. She was one of those creatures who wear their sex on their sleeve. Eveiy look, glance, gesture proclaimed it aloud — “I am the female of the species ! I am woman — made to be loved. I am young, and beautiful, and female!” Wherever she went she was followed by covert glances, >peculating, siJecious. But she never answered their chal- lenge. Rita was out for bigger game. She guarded her re- spectability zealously, not for its own sake so much as because her shrewd little brain told her that it was her greatest asset in the difiicult task she had set herself, that of gaining a foothold somehow — anyhow — on the slippery reefs that led upward to the citadels of society. d'he boarders at Mrs. Potts’ Select Boarding House w'ere gathered on the stoop, awaiting the summons to dinner. They answered her brief, frigid nod with envious stares that found vent in words as soon as she had passed beyond hearing. ‘WVonder w'ho’s the meal ticket tonight?” Miss Dobbs, the buyer in Tracey’s department store sniffed, with the unfor- giving virtue of a lady on the shady side of forty. “The maid told me that she has a new dress — of cour.se, there’s not enough material in her evening clothes to cost much, still ” "Three different cars in as many evenings!” nodded e manicurist from the Biltmore. “The head-waiter in the Pa|i Room says Harrison Chalvey brings her there at least twe a week, and everything from oysters to cheese ! For my pt!., ' I dont see it ! Of course her eyes aren’t bad, and that qu r dark-red hair ” “I think Rita Charles is awTully nice!” Carrie Billings sai, . stoutly. She was a sickly little thing who did a song-ai- : dance act in the three-a-day circuits whenever she was r , as now, recovering from a breakdown. She turned to le silent man beside her. “Dont you. Doctor Varian?” A wide, baby stare of the utmost guilelessness robbed p question of malicious meaning. For it was a commonly wl j pered report among the other boarders that Rita Charles vs Doctor Varian’s reason for being there. “I think,” said the doctor, pointedly, “that it's going to bi lovely evening and, also” — as a bell clanged thru the hall - hind them — “that dinner is ready,” and, rising, he stood, viV tall and straight, to let them pass. But his face, as he follow 1 them, was rather grim. Ida, the down-at-heel little maid, rapped upon Rita’s doi|; then, in her eagerness, stuck her befrizzled head around • (Twenty-eiyhi) iASSlC •j’lease, miss, the car’s come and the shover says to tell you l^’s waiting.” She drew a loud breath of admiration. “My! ■!iu look swell, Miss Rita — just grand — like a real sassiety i!iy!” The black tulle and satin gown lifnned the girl’s young, lirving figaire with startling frankness. She had spent the ort interval since her homecoming cleverly, and the result [as a dainty freshness, a perfection of detail that a French laid could hardly have improved upon. From her sleekly laved head to the tiny heels of her satin slippers Rita Charles oked precisely like any of the exquisitely contrived young omen of the Four Hundred whom she w'ould later brush jainst in the palmroom of some fashionable hotel — except )r her eyes. Those alone showed her difference, her struggle. There as a strained look to them, a hardness that was almost cal- jlation. Where they should have been lazy, indifferent, they ere anxious. Tonight as she sat on the soft cushions of Harrison Chal- ey’s town car she was wondering, with all the sickening eager- ess of a gambler who has staked everything on one throw f the dice whether she would be able to “land” a proposal jnight. She had played her cards exi)ertly, yet she could not e sure. Chalvey was no novice with women ; she did not dare ■ake his attentions too .seriously for fear of frightening him way, yet, on the other hand, she had heard disquieting rumors jif family interference. ; The chauffeur opened the door and handed her out at the jlazing entrance of the Highmore Hotel. “The Peacock .\lley. i jriie meeting was !)ricf, a hurried intro- luction, a distrustful ook exchanged be- ween the two men, i touching of hats Imd they had passed 'I on miss,” he murmured, in a tone whose servile respect was hr' lied by the knowing leer of his glance. “He will be here a-- sooil as possible.” Head held haughtily high, Rita swept up the carpeted steps and by the liveried doormen, acutely conscious, under her affectation of ea.se, of her lack of escort. In a deep chair in the corridor named, for obvious reasons, “Peacock Alley,” she sat disconsolately waiting, outwardly calm, inwardly raging wuth humiliation and resentment. She knew very well that Chalvey would not have dreamed of treating a girl of his own class in this offhand fashion. Pride whispered for her to leave before he came, but it was a feeble w'hisper, quite drowned beneath other advisory voices. It was a .small enough price, after all, she admitted grudgingly, to pay for a dinner at the Highmore, with its lights and flow- ers, music, exotic and costly food, its flatteringly attentive waiters, its atmosphere of ease and indifference to mone\ which her restless soul craved. And so she waited obediently and presently he came, blase, offering careless, casual ai)ologie.s, a tride uneasy as he faced her across the snowy table in a semi-private corner of the Turkish Room. “Here’s a ])retty go, Rita!” he confessed; “the mater ha'< decided to go to Newiiort, so I’m off tomorrow! Hu \nn know I hate to go some- how, but the Rock (Twenty nine) r \ MOTION PICTURE CLAS : of Gibraltar is a down i)illow compared to the mater, once she makes up her mind.” Rita looked down at her Blue Points, sick with disappoint- ment, conscious that she must not show it. She had only this evening then ! W^ell, she would make the most of that. She smiled into the heavy, rather vacuous face opposite, a slow, challenging smile. It was no time for delicate work. “I wonder,” she murmured, “rvhy you hate to go ” But the fates were working against her. Midway of the dinner a waiter called Chalvey to the telephone. When he I rage filmed her eyes. When all danger of their falling vjs past she called for her coat and went out into the foyer, i * hand touched her arm. She looked up to see T. J. Olversij, ^ Junior’s, face, slightly flushed, smirking down into hers. , I “Well, well, sweetness!’’ he greeted her. “Not calling it i evening so soon? Have a drink with me, eh? No? Well, t' me see you home anyhow — got the old bus right outside.” ^ t T. J., Junior, was not yet forty, but he was puffy and fialy|( and slightly bald. There was always the .smell of his If . I cocktail about him, and he wheezed going u])stairs. His glai^ was an insult, his touch a degradation, t "V\’e — were dining in a — a private room and there was a — a raid. It seems his — liis wife had been trying to get evi- (lence for some time so slie hired detec- tives ’’ Rita, shrinking involuntarily, allowed him i ' i lead her down the steps and across the pa't-^' i ment to his car. ' | Doctor Varian v'tji just returning ho^I; from his settlemet’i house when the Olv;- ' son limousine, lookiij I oddly out-of-place i , the dinginess of Wjt Twenty-third stret], drew up before M . Potts’ boardin.g-hou , To his surprise, I; door did not open at once, and he notici that the old- rose silk curtains within hi been unloosed so that they covered ti; windows. J As he stood, hesitating, he heardli i stifled cry from the car, ti*. shuffle of a struggle. With grim face the doctor spra ; across the pavement a i wrenched the door : the limousine op<, catching the sle* der figure tf . tumbled out in his o p e n < arms. Before 1 could ma a move R' Chari returned it was with his hat and coat. “Awfully sorry, Rita,” he explained, “but I’ll have to beat it — unexpected business. I know you’ll un- derstand. You’re a good sport ! Dont forget me, will you ?” He looked down at the satin sheen of the bare arms and bosom, the sheer loveliness of her, and his voice thickened. “Damn it all ! I’m not likely to forget you!" She watched his thick-set figure disappear, and tears of ‘‘THE WORLD TO LIVE IN” Kictioiiized by permission from the scenario by Mar- garet Turnbull, based on W. Carey Wonderly's story. Produced by Select Pictures ; starring Alice Brady. Directed by Charles Maigne. The cast: Rita Charles Currie Billings... Ida Doctor Varian . . . . Hugh Chalvey T. J. Olverson, Jr, The bride Alice Brady Virginia Hammond Zyllah Shannon W. P. Carlton Earl Metcalfe Robert Schablc .....Anne Cornwall had slammed the door sin, murmured an order to t,» chauffeur, and the big car w gone. Very pale, but perfect the mistress of herself, the g put up shaking hands to h loosened hair and tucked a tol wisp of tulle under her coat.i “He — was trying to ki me,” she explained, cooil “He had been drinking, • course, but — I am very grat fill to you for coming jii \vhen you did !” {Continued on page 64) (Thirty) Tea He! Interview in One Act By GLADYS HALL nor the complexion of your pro- genitors . , . your habits . . . your inner self . . . advanced stuff, y’know . . . Hknry G. Sell (aggrievedly) — Still, California, you know . . . Californians always Inquisitor {resignedly) — Yes, yes, they always ... I know . . . hut what’s this I hear about your name . . . your changed name ? Hknry G. S. — Well, you see, no human being alive today ever pronounced it right. I con- tracted paralysis of the tongue explaining it. Fans deluged me with plaintive queries. I was generally hailed as a “gazelle,” or some other gentle beast. It sort of got on my nerves. Too young for nerves? How nice of you . . . tea he ! No, but really, the nerves come from playing in stock, which, never- theless, I en- joyed greatly. ( C oiltinned on page 69) Here we have Henry Gsell— er — that is — H e n r y G. Sell — and be- low Mr. Sell and Pearl White herself dexterity, after the manner of his kind. The Inquisitor, as the curtain rises, re- sembles a highly agitated interrogation point. The Victim, hero to how many of Pearl White’s heroines, appears to be, at least, un gargon complaisant. The Victim {hurriedly) — I was born in California . . . my mother was a blonde . . . my . . . Inquisitor {nonchalantly attacking an inoffensive English muffin) — I really dont wish to know where you were born . . . nor the color of your eyes, nor . . . Henry G. Sell {with dark suspicion) — I understood you to be an interviewer. I . . , Inquisitor {continuing blandly) — Your eyes . , . I see they are gray . . . I I ' nr r, I ''i G’' i Those Concerned Henry G. Sell (formerly Henry Gsell) .Victim , Gladys Hall Inquisitor [Other Man Sedulous Waiter i SCENE I The scene is the Balm Room of the jVViltmore. The action sounds (see cast 'given above) triangular, which is also I peppy, but is, in reality, strictly inter- Irogative and righteously professional. I Main characters are discovered at a Ismail, marble-topped table to the right of I the dim greenroom. From somewhere [off-stage an orchestra orchestrates fit- i fully. The Sedulous Waiter serves . . . I ah, orange pekoe . . . with nervous (Thirty-one) WKRE I asked off-hand to give an impression of Grace Dar- mond, I would say that she reminds me of a color combina- tion— purple and gold. There is no “why” for this. Her hair is of a golden color — the shade of “old” gold^ — but I have never seen her dressed in purple. However, I have heard her say that the kind of gown she likes best on the screen has a long train which moves snakily. (That was when she was leading woman with Earle Williams, but I do not think that she has changed her mind, now that she is a star.) Tt was on a colrl afternoon in January that I went to interview her at thu Willis and Inglis stu- dio. I friund her standing in the df'orwnv of her dressing room, The Purple and Gold Darmon gowned in black velvet. The gown was made long, almost t(i the ground,, and a long black velvet cape hung from hej shoulders. Pecause she looked so distinctly royal. 1 wa vividly reminded of the occasion of our first meeting. Then- she had been suffering from a bad cold and the doctor hac ordered her to bed. But she had gotten up as soon as h'l left the house and comfortably ensconced (lerself in a bij armchair. She was wearing a sixteenth century negligei that had recently seen service in a costume picture. | Answering the question of what becomes of their oli clothes, she liad remarked, “This is too good to throw awav so I wear it around the house.” Later, two tiny children had come over from next doo and we had left our chairs to sit on the floor, looking at thi picture-^ which entirely filled the lowest drawer in the side board. When they left, she had remarked, “My real am bilioir is to ha\e fixe children of my own.” (And she mean it. too.) • W e had iced lemonade, and told jokes and read fortunes! of a fatalist. .about the possibility of death or being ii an accident or anything like that,” sh>- remarked. ( We had been talking o the influenza.) “I think that som' things in life are as inevitable as wa pictures.” ^ “But do you think that war picture really are inevitable?” T a.sked. She nodded affirmatively. “I’v' been talking with some soldiers know', and they say that the returnini She is \er\' much "1 nex er xx orrx Grace D a r m o n <1 and lier mother not only look like ters, hut thex’ reallx’ and truly are chums. Thex’ liv<- in a heautifiil hun- fjaloW in thf? foot- hills (>f Mollvxvood (Thirty tv'o) Miss Darmond is twenty years old, likes ham and cab- bage and when she w'as a little girl, her pet ambition was to be a milliner. She was born in Toron- to, her father being a concert violinist gave a screaming- ly funny imitation of the up-stage star), “I know that by becoming a star I will seri- ously damage the drawing power of Mary Pickford.” She dimpled at the idea, which goes to show that she is not in the least conceited. I watched her work for a while. They were making (C ontinue d on page 68) An Interview in Sixteenth Century Negligee with a New Star By ELIZABETH PELTRET troops will love to see war pictures and point out all the errors that the director has made in his production. Certainly, I think that they will be popular!” “Which will be popular, the errors or the pictures ?” “Both,” she answered cheerfully, “but I should say chiefly the errors. It is only human nature that one should like to show how much one ! knows.” I was introduced to her mother. It is “old stuff” to say that a mother I and daughter look like sisters, but in this case the usual complimentary phrase is true. They do look like sisters, and they are really and truly ■l chums. They live in a beautiful bungalow in the foothills of Hollywood. ^ The other members of the family are “Theda,” “Anita” and “Earl,” I canaries so tame that they are often let out of their cages and permitted I to fly around the house, and “Boy” is their pet — an exceedingly lovable I tho entirely plebeian puppy. I “We picked him off the street one night,” said Miss Darmond. “It I was about midnight, and he had been howling outside my window for about an hour. At last I dressed and went outside to see what was the matter. The poor little fellow was cold and hungry and just generally miserable. ' We took him in and fed him and advertised him, and then I when nobody came to claim him, adopted him for our own. He wasn’t what we wanted in a dog, for we had been planning to get a Boston bull, and now we cant. One dog around the house is enough.” i It has frec[uently occurred to her to give “Boy” away. “But when it ! came to the point I couldn’t bring myself to do it !” Which is the most j characteristic thing about her I know ! But to return to my interview. We went down the steps leading to her i dressing-room and crossed the*lot to where the “set” was waiting. “It seems strange,” she remarked on the way, “not to be playing oppo- site Earle Williams.” She was with his Vitagraph company for a year. “I dont believe that your head is a bit bigger,” I said, suddenly. “Do you know,” with mock wonderment, “I dont feel a bit different than I did before , I was a star! Tho, of course,” (here she f Thirty-three) 7 y, SHE jumped into instant fame thru her success in ‘‘Hell Morgan’s Girl.” The play was so vivid and so well suited to Miss Phillips’ personality that every one remembers her girl of the Barbary Coast. Not’ning she did subsequently quite touched it — until her recent heroine of “The Heart of Humanity,” Motion picture acting is but an incident to Dorothy Phillips. It is a means to a very important end. She loves to act, but her love is selfless. I'rue greatness is said to arise from unselfish piotives. Miss Phillips’ whole soul is thrown into her work because, you see, she’s not earning a big salary just to buy motors and .stunning clothes, but because ‘‘Gwendolyn is really a beautiful child,” came a soft, sweet voice from a dark corner in the set. A big English hall — lovely upholstered settees, a fire- place. dusky corners tliat suggested romantic love-making — qnd there you have the background for the Madonna of the Movies. “They say all mothers make that remark,” went on the voice, with the soft Baltimore accent, “but really you must believe me, because I’m not citing my own opinion— everybody says she is beautiful. She has real chestnut hair — something I always wanted myself. You know that chestnut which .shows glints of burnished gold in the satiny brown? She would make you think of the shiny nuts we used to love to roast at this season of the year back East. And her coloring is perfect, and she is so full of vivacity and life — I think perhaps that is her real charm. “I am glad I can act, gla4 I can give her an easy future. Isn’t it Doroth}' Phillips’ wedding to Alan Holiibar was ro- mantic. “I was Modesty in ‘Every- woman’ and Mr. Holubar had been playing King Love," she says. “And he really did fall i n love with Modesty and I fell in love with Love” tragic to think of the poor little un- wanted tenement babies — unwanted because there’s so much poverty in the world, so much misunderstand- ing between the parents? You see, even my wedding was romantic. I was Modesty in ‘Everywoman’ and Mr. Holubar had been engaged for King Love. And he really did fall in love with Modesty and I fell in love with — Love ! Then later we went West, and our baby came after I had been in pictures quite a while. Now I’m con- tinuing in pic- tures, not only because I enjoy act- i n g , but because I Dorothy, A\e and Gwen (Thirty-four) By FRITZI REMONT vill be able to ave for her fii- ure. You see, kir. Holubar’s )Ositi'on is such hat I need not ict from the fi- lancial point of dew unless I :are to, and so t’s just the )aby that is my 3ig incentive. “There, I’m lone. Would /ou like to mo- or over home vith me and see Gwendolyn ?” Was any one foing to miss in opportunity )f seeing the )eautiful child )f a very beau- tiful screen kar? Unlike logo, who re- plied by saying nothing, I split the atmosphere by as hearty a I'yea-verily” as gver pleased a mother-heart. The Holubars have a lovely home in Los Angeles. As for Dorothy, she looks like a little sister of the four-year- old Gwendolyn. No photograph half does justice to the child’s loveliness. She doesn’t like to have a picture taken, is not a bit vain, and rather sets her little face in an attempt to be grave, for, be it known, Gwen- dolyn Holubar is full of roguish smiles, of happy twinkles, and has glorious, deep, sentimental eyes that tug at one’s heart- strings. Her greatest possessions are a picture of her mother, selected by herself from dozetis submitted, and a little American flag. She has toys galore, and her mother plays with her in ever)’’ spare moment at home. At the studio. Miss Phillips has been wearing a gorgeous evening frock of cloth of silver, with magenta velvet, diamond ornaments and rings, and a beautiful string of perfectly matched pearls. At home, .she’s the embodiment of Southern idaintiness. You know how the Southern girls always love 'organdies and flufly-ruffles? Well, that’s the sort of style Dorothy Phillips brings to California from her Baltimore home. The gods heaped favors into her tender deep gray eyes, Motion picture act- ing is but an incident to Dorothy. Phillips It is a means to a very important end. Yet her whole soul is thrown into her which look like the mountain lakes of northern California. Dorothy Phil- lips was born in 1892 in Baltimore, and studied at the high school there, then began in stock company, gradu- ated to the cast of “Everywoman,” later did “Mary Jane’s ]Pa’’ with Adonis Dixey, and then spent her summers working for Essanay, re- fusing to give up her stage career, which she then considered paramount. Later such inducements were offered Miss Phillips that she gave up the legitimate stage and has been in pictures ever since, her main reason fob sticking to the “silent” being mother-love. She is {Continued on page 70) work because she’' not earning a big sal- ary just to buy mo- tors a n d stnnniny clothes, but be- cause— (Thirty-five) “Get this!” says Madge Evans, "you’re to have a closc-up — try to look dramatic, or something’ “Now, go to it,” com- mands Madge. “Cut the comedy and make be- lieve you’re Doug Fair- banks. Kiss me and then jump over the piano “This is the way a love scene has f Madge’s Own Movie School “Ye gods!” sighs Miss Evar. "I’m going to can the who - troupe. 'They’re the wor ^ that ever jarred tue cell, loid” II P, S. — The leading “lady” Madge’s brother (Thirty-six) An Olive From Sunny California B\- :5l:h KOlihKlS "W: i\i g(;l llic litlio.'lO iiiiiiian) c\ Cl loinicJ,'’ sahl ()li\c r!i(Miia>, “bill il's all oiir (iwii. Isn’t it jiifL't"’ Wlicii (llive 'J hoinas ^.ays “Isn’t it luiif” lier ingenue eyes, round and innocent and glisteiiy, sparkle with a spirit sotnevvlial similar to that which must have lighted the e\es of Colum- bus when First he sighted the west- ern hcmisjihere. When Olive says, “1 had in- tluenza on Christmas, wasn’t it rotten?” her eyes are still alight with the thrill of dis- covery. To ph i 1 oso [)h i ze ’ upon |c)live’s eyes is amazingly tempting, but tbe plot of this little tale demands a more substantial if less intriguing introduction. In the land of the creeping celluloid there has lived a man whose vast Financial moves and producing plans have been closely watched, intensely admired, and bitterly feared by rival producers. To a cer- tain extent, Lewis J. Selznick is a picture Cnesiis. His touch upon a picture project turns it to gold, for either himself or some one else. A little more than a year ago the name Selznick disaiiiieared from all electric signs, trade [laper advertisements and newspaiier articles concerning pictures, and Lewis J. became presiclent of the Select Pictures Corporation. Now it happened that Mr. Selznick has a son, just turned of age, who has been associated in all his father’s enterprises. Young Myron didn’t like this hiding of the family name behind a bushel. So short while ago he made up his mind to see what he could do for his country, or rather his pat- ronymic. Thus the rea- son for the start- ling news which recently dawned upon the movie horizon : Myron Selznick had organized the Selznick Pictures Corporation and engaged Olive Thomas as his star at a salary of $2,500 a week. After nearly wearing out Mr. Bell’s well- known invention, I managed to obtain an ap- pointment with Olive Thomas. There was no time for the pink-tea setting or .softly lighted boudoir atmos- iphere, which the usual interview should have according to all [laws. Miss Thomas agreed to see me in the office for a moment or two before train-time. Picture an office that belits a king of finance. A desk, large enough to swallow a billiard-table, is monarch of the room. Leather chairs, dee]), sinking-in ones and divans; Oriental (Thirty seven) 'b And e i n 1 s name 5o a he and silver acL(nUiemeni^ are its .wibicvls. among tlle.^e ()ll\e and 1 held court. Olive cuddled into her .^oft sealskin coat with an impatient little shrug. “I certainly do have the worst luck,” she announced, in a perfectly unjierturbed voice. “Here 1 come to New York on a two- week s’ vacation, to get clothes and do the theaters before starting our new pic- ture and, lo and behold! 1 have to get the tlu. They trundled me off to a hosiiital, and there I spent my vacation, being told if 1 didn't do this and didn’t do that, they wouldn’t be re- sponsible ana I’d [irobably get worse and maybe die. No theaters, no shops, nothing. Jack (Pick ford, her husband) is out on the coast taking pictures, you know, and he wdred fran- tically every day. I sjient my Christmas in bed. Jack sent me a diamond necklace by a friend of his who had been in the navy. He showed it to me the day before Christ- mas, but we were afraid to leave it around, so he offered to put it in his safe-dei)osit box. Came Christmas, and 1 wanted my necklace, at least to look at. No way of getting it — wouldn’t you know ? — we had forgot- ten that he couldn’t get it out on Christmas day. No theater, no ^ necklace, ^1^ nothing. Just / bed and ice-bags. “But I fooled everybody New Y ear’s. All the boys and girls had sent me flowers — pityingly, dont you know. But I made up my mind I was go- ing out if it killed' 'fne. When I walked into the club, you’d have thought I w'as a ghost, every one was so surprised. They greeted me with ‘Why, Olive Duffy!’ My real name w^as Duffy, you know. “For the last two days I have been staying with a friend of mine, and I cant see how she puts u]) with me. I have turned her apartment into a regular office. There have been insurance agents examining me for $300,000 worth of insur- ance to iirotect the company in case I should expire before my .4 “\Ve have a house out in California and it’s nice weather and all that,” says Miss Thomas. “But there’s nothing- to it. No ex- citement, no big plays. All 1 do is Vi'ork every day and go to the movies in the evening. I told mother I felt just like an Irish workman” MOTION PICTURE CLASSl “Oh, dear,” said Olive, “I do ho]if'! I wont have to see any more peop today. I look such a fright!” | Which started an argument on tl iSi impossibility or possibility of such thing. At its very height Myron Sells' nick entered quietly. \ “When you two girls finish cha h ting,” he said, “Cosmo Hamilton a waiting outside to see you, Olive I” “Oh, dear, what does he want?” v “To talk over ideas for your ne:i[i story. Surely you’re not afraid of ai mere man.” “Afraid?” said Olive, as she ro vigorously to her full height of fi' feet four. “Have you forgotten that fti can beat both you and Jack at wres ling? Afraid of a man! I guess m Any woman can get the best of a m: if she wants to.” Myron and Olive stood side by sid both belonging in the bantam-weig class. “See my star,” said Myron. “See my manager,” said 01i\’ “Haven’t we got the ‘littlest’ cor pany ?” “We wont have any one in o company who is over five feet for ii will we, Olive?” said Myron. ? “No, siree!” agreed Olive. “Evil Jack is in that class, so he can kin» [I belong.” “What I like is we’re going to ha i! just a little comer of a studio, b x it’s all our own. Isn’t it fui-| No one can boss us. C they, Myron ?” “No, siree!” agreed M ron. “I must go,” I put i Sr, “Mr. Hamilton is waiti: (j to talk to you.” “Oh, that’s all right,” sa Olive. “You’re just our si; j: so you can belong, too, ca she, Myron?” “Yes, siree!” said Myron. But I saw my duty and c ijc parted. As I passed thru the our office I saw the famous auth< Cosmo Hamilton, cooling 1 , bespatted heels until Mil Thomas found time to see hi,?) and the big producer. Herb: Brenon, waiting patiently fon business conference with Selznick, Senior, until M • Thomas had quite finished w.i'j Louis J.’s private office. f But all of these things, whii'^ are the natural homage duei'^; queen star, failed to amuse n'i so much as the fact that n- mentarily I had forgotten tl: my companion was Oil Thomas, a famous film star a “ the wife of the equally famous Ja~ Bickford. I had failed to rememlr^l that she used to be a favorite in It Ziegf eld’s well-known Follies. y "To me she was a jolly good fellow just one of the girls. ( Thirty-eight) “We’ve got the ‘lit- tlest’ company ever formed,’’ says Olive, “but it’s all onr own. Isn’t that f-un?’’ contract ran out ; there were photographers, shoemakers, dressmakers, fit- ters, people run- ning in with this paper and that for me to sign. You see, the doctors didn’t want me to go out. Today’s the first day I’ve left the house for any length of time, and tonight I have to catch the train for Pittsburgh to visit my mother and then hurry out to the coast and work.” We edged in a little remark of “Do you like the coast?” “Of course I do,” she said. “We have a house out there and it’s nice weather and all that. But there’s noth- ing to do. No excitement, no big plays. All I do is w^ork every day and go to the movies in the evening. I told mother I felt just like an Irish workman. Working each day, paid once a week, and a half holiday on Sunday.” “But some difference in the pay,” I remarked, plointedly. Just at this crisis the door opened and Mr. Selznick, Sr., came, in, followed by his secretary. Miss Thomas and I soft-pedaled our chatter and asked as one voice with but a single thought, “Oh, are we in your way?” The busy picture financier pressed five or sjx little buttons set in a square box on his desk and said, cordially, as if time were of no consequence in his rushed life, “Go right ahead and enjoy yourselves,” and with a nod to his secretary to follow him, he leB us in possession of his sanctum. Did in Story Form from Julien Josephson’s Scenarii By FAITH SERVICE ^ NDY Fletciif.r WHS an inventor. He couldn’t help it. He l^jj^ had been born that way. From the very dawning of his i juvenile consciousness he had been tinkering with things, Dinning things, dreaming things. He had dreamed gigantic figs, revolutionaiw things. That nine of them had, thus far, ;(lie true, bothered him very little. There was always more dream of. Dreams are happy, prodigal things. Of course, not r'rybody has the same viewpoint. His dad, for instance. His lij, like manifold dads before him, hammered steel endlessly in b little smithy. He hammered it tirelessly. Three times a day departed from his anvil to eat. At eight he divested himself of 1 leather apron, his .spectacles and, this for more immodest injecture, no doubt of other impedimenta and betook himself dsonorous slumbers. There was no departure. Andy did not ilerstand the admirable mechanism of his paternal parent. parent did not understand the world-building dreams of \)dy. They seemed, these dreams, to manifest themselves liefly in little matters of alarm clocks, ancestral watches, f phen devices and the like, which, after Andy’s touch, never again. Or, if they did run, exhibited tendencies like noth- ij, human ever known. Dad did not understandy Andy, in due course of events, dad betook himself to an orderly Jusoleum. Goodwife Fletcher speedily followed suit, the i)it in life having grown upon her. My was left alone. Te was a dutiful lad, dreams liwithstanding, and he mourned DDperly for six, months with a (aber taffeta band sewed neatly i|)n his Sunday suit. Then it ;jine to him that he could dream I'lin. He felt a great passion '( reforming the world, for mak- rf it a better place to live in. 3t he did not, like many ) ers, know just i,v to begin. He lo u g h t of his nther, of her c-worn hands, II r anxious t';er the job s com- ' : t e d she > ed still ijther and il more ade- ;nely li e r minis- iuiagic. She cjk the Late nentor into b dining- '(Im and fed him Andy Fletcher was an inventor. He couldn’t help it. He had been born that way overworked expres- sion. What might have made life easier for her? Sweeter? Softer? Some people begin in the bowels of the earth, some in the last stratas of the air. Andy decided that he would begin right at home. He thought for a whole week, with only the old gray mare and the speckled chicken for companioning. There came to him the thought that there had been an endless procession of potatoes, all of which had to be sliced ... by hands ... by his mother’s hands. Suppose . . . suppose . . . she had not had to peel them. What a saving that would have been ... of energy ... of force, precious thing. Thus the invention. Andy worked tirelessly. Unlike his father, he forgot to eat and, quite frequently, to go to bed. That the world should have its potatoes sliced for it by science seemed to Andy to be the great thing. The night on which he put it to the test was epochal. His face grew very red and h i s breathing halted for five perceptible [ (Thirty -nine) IWOTION PICTU j... .iiiciii- When u had, linuever, sliced six successive pcila- lucs willunii ail) dung further than occasional, very triflino; readjustiueiit.s, lie felt that he was justified in presenting his masterpiece to the world. He felt that he moved, unknown as yet, hut none the less forceful, with Bell and Maxim, with Marconi and lidison. When he slept he dreamed of laurel wreaths and laboratories where scores of aproned men and girls turned out Fletcher’s Little Giant Potato Sheer. 'I'he next day he tacked a huge proclamation on the grand- stand at the h;dl-tield and another one on the screen door of the post-otTice. It announced that at high noon Andrew P. Idetcher wotihl demonstrate his “'World-Easing, Labor-Saving Little Giant Potato Sheer. Saves Hands. Preserves Mothers. Elongates Wives.” Piliersville was iinjiressed. Various people were lieard to say that ‘‘d'h.'it h'letcher boy alius did have somethin’ to him.” The mo.st im[)ressed of the Pipersvillians was Alice Flint, six- teen-year-old daughter of Labai Flint, Pipers ville’s one banker and one plutocrat. Laban car Flint kept “hell).” He had ar auto, mission furniture ir his living-room, steam heat, electric light and sanitary plumbing. He had brought the flesh-pots of Egypt to the stale ways and byways of Pipersville. H i s daughter was a product thereof. For a year Alice Flint had represented t o •Vudv finally made It understood that la- wished to draw from the bank all his funds because t li e president's daughter liked a fellow with a .\ndy Fletcher the perfection in femininity. But he was ti.sed to dreaming and not so used to actuality. To pull his cap from his head when they met by chance on the street was as far as and as long as Andy ever dared to imagine. Alice, being feminine, was more largely fanciful. Fur a long time the vision of the boy before the anvil with his honest dreamer’s eyes shining, strangely blue, from the ruddiness of his cheeks, kept coming betw'een her and her dinner, her book, her knitting, the faces of her girl friends. She liked the way he smiled. She liked the gesture with which he ])ulled his cap from his tousled hair. She liked the gleam of his teeth. She had never seen a boy she liked so well. She wished that he liked her. It isn’t much fun being a goddess when one is sixteen and the month is May. It is still less so when one does not have even the chilly satisfaction of being aware of one’s empedestalling. When Alice read the sensational announcements she was very much excited. Just to prove it she ran home and i)ut on her figured organdie.' The old housekeeper had told her that her hair was “vellcr as corn-silk in it.” She wished that the boy whose sinewy arms wielded the anvil would see it al think so, too. She hoped that he would succeed. That j would be triumphant. He wasn’t a bit triumphant. He arrived, ostentatiouhJ with the marvelous miracle and a bushel of potatoes badly i need of slicing. He looked very much flushed, very anti^ patory. Alice had to put her hand over her heart so tl\ people might not see its beating. Not that the people { Pipersville were given to taking notice of beating hearts— The miracle didn’t seem inclined to slicing activities. It tacked the stolid vegetables before it rather wildly and qr at random. Tlj remained not o u n s 1 i c e d , b ; H quite unmoved! well. Pipersv' began to lau^i There was 11 mor. Those had come to [ remained to sci Only Alice v silent, s y m t h e t i c , u n d ( standing. When the I' polloi had g( she came timi up to the disc solate invent He had be stoned b y c rision. Pity her valorous. ??^ became a mot:l to his isolatioi'i “I’m a w f sorry,” she v cured, ;md pu^ timid hand upi his sleeve. T y stood alone in e u b 1 i c s q u a Trade had bn resumed. H;jj are the migl fallen! | A n d y loo I [d down on her. She a little thing! Terri|[e retty ! Sweet ! He gulped. “I’m no gof^ he lamented ; “cant do a; thing.” /Mice became more and ir womanly. More and more of that vast army who push vji their Herculean courage their men to triunqdt arches. "Vv?f you can!'' she declared, s()ueezing the rough sleeve just so accidentally. “You can, luo! You ” She cast alul her for inspiratiejn. What zaas it she had read of woi^ behind the throne? What zvas it? “'Our— our stove-pip!^ If I awful out of order,” she exclaimed, brilliantly; “if you ced fix it . . . do you s'[)Ose.'” .Andy I'letcher gazed down on her. He felt a healing, anointing. Already the Little Giant was becoming littler,^^ losing i)roportion. He inflated bis chest. “Bet I boasted. “Like to see anybody slop me!” j' So would Alice. W'alking along the board sidewalk to the plutocratic I » mansion, a dream was coming true for both of them. - .Andy Fletcher did miraculous things to the stovc-j)ipe. k seemed' to know an amazing amount about everything ui the sun, stove-pi])es being only among the least of Alice watched, adoring. After the job was comi)leted she plied still further and d. ( h'ortyl^Y r t ( ASSIC njTf adequately her feministic magic. Se took the late inventor into the dining- ri)m and fed him. He was supremely [jDpy. This was more than he had dred to hope for until — well, until that Hy when he should be ranked with Mar- mi and his brothers in science. 'Alice talked to him. She told him aDut school, about the high-school hop a which she had had all her dances t];en and four extras besides and a treat t ice-cream afterward. He said he bet, h didn’t wonder and gee whiz ! 'She said she liked strong men best, ^Itli muscles in their arms, preferably t|;ir right arm. She said blacksmiths vire awful nice. And inventors — oh. She said that she loved one thing tjit, tho, and that w-as a fellow with an ^itomobile. She knew a girl in the city, 6i(d the girl had a fellow and the fellow Sd an automobile, and she wished she |v s that girl. Andy Fletcher w'alked home in a nee. Cooked his simple supper in a nee. Worked at the smithy in still mre of a trance. If he had an auto- hibile. He had visions ... he and Aice flying dowm the road on Sunday .. . all dressed up . . . calling for h|- for a dance . . . meeting her after erreh ... his heart thumped and smed to make as much, if not more n se, than his anvil mingling flint and %■ |rhe next day he presented himself at ti' bank whereof her father was presi- dit. His face was very red and his bdming young voice very much sub- djed. He asked to see the P’sident. The pi'esident didn’t It'k plea.sed at the call. He hi a testy and a most nerve- r,:king manner of interrupt- ir with small,, volcanic "ell, well, wells!” Vien the salvage re- sived itself finally into tl semblance of a c:' Andy christened it ‘Greased Lightning” wh a bottle of his lothcr’s apple cider Andy had a difficult time in getting his mission clearly put. He finally made it understood that he wished to draw from the bank all his funds because the president’s daughter liked a fellow with a car. The president glared at him. “I knew your father when we both — ah — stole apples together from the same orchard,” he snapped, “and I never knew him for a damn fool, and I never knew he was even fool enough to have a poor fool for a son. If I’ve a fool for a daughter more’s the pity. Get out o’ here. Yon, not your money!” It never occurred to the disconsolate Andy that not fifty presidents could deter him from withdrawing his funds if he really a had a mind to. The choler of Mr. Flint completely cowed him. Fle was vanquished. He shuddered before the man’s sacrilege. His daugh- ter a fool ! Oh, oh, the worm in man ! Andy sat gloomily before his shop till the evening .shadows bespoke the evening meal. Meals were lonely times since Good wife Flint had dutifully followed her spouse to his last slumber- ing Meals wouldn’t be lonely if . . . shucks ! . . . a fellow with an auto ! Andy had al- ways been an honest youth. His father had drilled that into him even if it had not been in his small, sturdy body at his natal hour. He had never overcharged. He had never underpaid. But tonight he was bitter with the world. There stood between him and his life’s happiness a Alice Flint represented to Andy Fletcher the perfection in femininity I fFni-fy me) MOTION PICTURE CLA: miserable — probably — flivver! A flivver . . . ^viicn thev crawled even this country road like bugs instead of vehicles to pinnacles of glory. When a rich farmer from a neighboring farm came up with a car badly smashed in the fracas at the country fair, Andy set his grim mouth. “Cost you fifty,” he said. The farmer gasped. “Fifty,” repeated Andy, with finality. The farmer shook his head. “Sell you the salvage,” he sug- gested, not with much hope. Andy ran his fingers thru his hair. His inventor’s brain spun around. He saw the wretched salvage taking shape, acquiring action. “Done !” he said. When the salvage resolved itself finally into the .semblance of a car, Andy chris- tened it “Greased was fearfully clad, and over his shoes, which shone like :| he wore what Andy described as “dresses.” Alice introduced him as "Mr. Armitage, from Noo Yo i Andy was left in doubt as to which was the more imponStl of the two, Mr. Armitage or the small city he rather graciorj hied him from. The same doubt seemed to be with Mr. Armitage. laughed at Pipersville. “Odd little town you have !” he s and lit a cigaret. Andy always remembered Mr. Armitage Laban Flint presented A with a factory-made chine, shining to the He winked prodigioi: “It’s a weddin’ prese he said with a bottle of his mother’s apple cider and puffed up the road to call on Alice Flint. He found her very much engaged. Her manner quite changed. She had a ruffly gown on. Her curls were on her head. And she did not cast so very many .shy, sweet .smiles at him. She even laughed just a bit at “Greased Lightning,” standing, rather crude, at the gateway. Alice was with a strange young man, a very strange young man. He “GREASED LIGHTNING” Fictionized from the photoplay by Julien josephson. Produced by Famous Players-Lasky, starring Charles Ray. Directed by Jerome Storm. The cast : .■\ndy Fletcher Alice Flint Aldcn J. Armitage Laban Flint Grandpa Piper.... Milt Barlow Rufus Shadd Charles Ray ..Wanda Hawley ..Robert McKim . . . .Vyillis Marks ..Bert Woodruff John P. Lockuey ...Otto Hoffman New York, for his superflui foot-coverings and for his (i arets. At the particular r, ment he could think of noth ; but the fact that Mr. Armitd was where he wanted to ‘ getting the smiles he wanted ) get, hearing the words 1 1 should have been meant r him. ! Mr. Armitage seemed to ' able to explain his presence i Pipersville to everybody’s 5^ isfadion, save that of At, ( Continued on page 66) ( FortyUco) Bessie is just wondering which is the hardest : the New York subway system or the California mountains No, Miss Love doesn’t usually carry a ladder on her expedi- tions Herewith, Bessie is doing a bit of tight rope work, crossing a brook on her California hike California, Love and Spring- time We knew directors would start some- thing with their puttees. Now the actresses are tak- ing ’em up. Behold the puttced Bessie (Forty-three) The Celluloid Critic WITH tlie photodramatic world wliirling in a maelstrom of reported amalgama- tions and rumored changes- unusual even to fllmdom with all its sudden shifts— one can hardly expect much of the screen drama. Unrest is good for the soul, however. Here and there are signs of new methods, new ideas, new ideals. The photoplay is on the verge of breaking the fetters of a machine-feature- a-week and raising itself to a new level. The month itself was dull, with but few high lights. Again the leadership goes to Cecil de Mille, who followed his “The Squaw Man” with his odd study in matrimonj' “Dont Change Your Husband.” Based on an original story by Jeanie Macpherson, “Dont Change Your Husband,” (Art- craft). has not only the merit of being written for the screen, but of coming a little closer to life than the average sugar-coated photoplay. V\ e do not agree with Miss Macpherson’s philosophy, but we admire her effort to get out of the silverscreen rut in approaching the realities of things as they are. Miss Macpherson starts seven years after the conventional movie fade-out has united Leila Porter and her business-absorbed hubby, James Denton Porter. Lazy habits around the house, a penchant for onions and a general letting up of the finer things of life, causes Leila to turn to the dashing Schuyler Van Sutphen. So she divorces James and marries Van only to discover that one husband is quite like another. Van becomes, in his way, another James. Meanwhile, Porter has seen his folly and has developed into an athletic Beau Brummel. So Leila divorces Van and re-marries James. And the final scene shows Porter, again at his old fireside, lapsing into slumber behind his evening news- paper. The moral, according to Miss Macpherson, is that all husbands are alike and a wife might aS well make the most of the one she possesses. De Mille handles “Dont Change Your Husband” with fine taste and dramatic dis- cretion. Just now there’s no director as satisfying as the De Mille, whose scenes invariably are everything they should be. “Dont Change Your Husband” is marked not only by distinguished direction, but by fine acting. Gloria Swanson, who played the much wedded wife, is a distinct discovery. Prettiness, sympathy and repression are here. We know of no one who could play the wife so admirably. And the new Elliott Dexter is James Denton Porter. He follows his superb Squaw Man with a finely sympathetic performance of the negligent husband. Lew Cody is effective as Van Sutphen, but Julia Faye, to our way of thinking, overdoes the ornate little vampire, “Toodlee” Thomas. David Wark Griffith’s “A Romance of Happy Valley,” (Artcraft), starts with the charm of an idyll and lapses into the most inane melodramatic clap-trap. Here is the .soul struggle of a little country boy who finally tears himself away from his little sweetheart and his parents to find himself in the city. Finally he returns, his pockets bulging with money. His father, now penniless and facing eviction, does not recog- nize him when he comes to the old homestead to stay. That night the old man tries to kill the stranger in order to get his money, but chance prevents the tragedy. It seems that the village bank has been robbed and the posse has pursued the cracksman to the homestead. The boy. attracted by the noise, goes out to investigate just as the wounded bank robber crawls into his room. So the old man chokes the thief to death instead of his son. Consequently, everything ends happily, except for the burglar. “A Romance of Happy Valley” is Griffith briefly at his best and extendedly at his worst. He seems unable to get out of the slough of the melodramatic punch and the chase. The early portion of the picture, despite exaggeration of rural characters, has many fine mo- ments, such as the little love scene in the corn field between the boy and his sweetheart. But, in the main, “A Romance of Happy Valley” is pretty inferior stuff. Lillian Gish plays the country sweetheart, Griffith continuing in his efforts to make the most idyllistic girl on the silverscreen into an eccentric comedienne. Robert Harron varies as the country boy and George Faw'cett completely overdoes the old father. Fawcett is guilty of celluloid ranting in the moments w'hen he fights w'ith his conscience before attempting to kill a stranger within his gates. Jack Barrymore’s “Here Comes the Bride,” (Paramount), is good fun in the main. Adapted from the stage farce of Max Marcin and Roy Atwell, the piece lends itself quite effectively to the screen and to Barrymore’s methods as a farceur. The comedy is built around an impecunious young lawyer who, in order to earn $10,000. marries an unknown w'oman. At that moment his sweetheart, the daughter of a wealthy man, decides to elope with him. All sorts of comic com- plications result. Barrymore plays the penniless lawyer in an entirely different spirit than it was originally done on the stage. He is, however, highly amusing. Little Faire Binney, who was in Maurice Tour- neur’s “Woman,” is pleasant enough as the sweetheart. “The Silver King,” (Artcraft), which marked William Faversham’s return to the screen, is a creaky screen adaptation of a creaky stage melodrama by Henry Arthur Jones. This is the story of an Englishman who believes he has committed a murder while in his cups, who comes to America and strikes it rich in the West and then goes back to vindication and his wife, who has loved him thru it all. Mr. Faversham films very well, but is fearfully stagy. You know the sort? Continued glances upward as if one expects rain. All this, of course, to indicate a belief in an all-seeing providence to guide one thru seven reels. Much more effective, to our way of considering things, is Barbara Castleton’s sympathetic playing of the wife. This is Miss Castleton’s best screen work thus far. “Go West, Young Man,” (Goldwyn), w'hich marks an early step in Tom Moore’s star- ring career, is a Doug Fairbanks vehicle minus the athletics. Moore plays a million- aire’s son who goes West as a tenderfoot and suddenly develops into a man with strength enough to tame a wild western town. He saves an old miner from losing his mine and marries the daughter. Looking back over a period of some two weeks at “Go West, Young Man,” the whole thing seems rather vague, except a remembrance of Moore as the down-and- •1 (Forty-four)'- Madge Kennedy and John Bowers in Goldwyn’s “Day Dreams” Griffith makes an- other effort to make a comedienne out of Lillian Gish in “A Romance of Happy Valley” By FREDERICK JAMES SMITH out tenderfoot washing dishes in Twin Bridge’s restaurant. Ora Carew isn’t very interesting as the heroine, we regret to report. Max Marcin’s successful trick melodrama, “Cheating Cheaters,’’ has reached the screen via Select with Clara Kimball Young in Marjori Rambeau’s original role of Ruth Brockton. The story built around the efforts of two gangs of crooks to fleece each other, each believing the other to be a wealthy family, is adequately enough adapted to the screen. There is considerable humor. Miss Young is satisfactory enough. Jack Holt is the heroic scoundrel, and Anna Q. Nilsson’s prettiness stands out strongly. “Out of the Shadow,’’ (Paramount), is the usual hectic sort of thing that has been hurting Pauline Frederick for many, many months. Suspected of killing her husband, Ruth Minchin is acquitted. She suspects that her benefactor is the guilty man and, altho she loves him, she starts out to solve the mystery. In the end another proves to be the culprit, so the widow and her proven friend are united. “Out of the Shadows” is a pleasant evening’s entertainment. This sort of thing is right if it points a bit of philosophy or aids one’s understanding of life, but not if it is mere machine-made melodrama. Willard Mack’s drama, “Shadows,” in which Goldwyn stars Geraldine Farrar, considerably discouraged us. In the first place it is the old, old story of the woman with a past who is suddenly confronted with said past at the very apex of her happiness. In this instance Muriel Barnes is the happy wife of Judson Barnes. But some years before she was known as Cora Lamont, at that time being a dance hall belle in gay and giddy Alaska. Indeed, she had been deceived by a rough gentleman named Jack McGuff into thinking she was the lawfully wedded Mrs. McGuff. But the McGuff person really had a wife back in the states. As we intimated. Cora, or rather Muriel, has reached the point of having everything her heart desired when McGuff appears upon the horizon. But she neatly traps him by scattering her jewels about her boudoir, screaming when McGuff appears and thereby causing his death when a policeman shoots the visitor, thinking him a burglar. So Muriel, alias Cora, is left to her happiness. The drama is worked out without any particular imagination being displayed upon the part of Mr. Mack or the director. Nor are we attracted by Miss Farrar’s performance as Cora-Muriel. If nothing else, she photographs badly. Tom Santschi is hyper-red blooded, if you like that sort of thing, as Monsieur McGuff and Milton Sills is hyper-frigid as the loving husband, Judson Barnes. There is nothing particularly distinctive about J. G. Hawk’s latest drama, “Breed of Men,” (Artcraft), in which William S. Hart appears. Herein Hart plays a reckless cowboy and the innocent tool of a land swindler who jams him into office as sheriff and then proceeds to sell out the whole district without regard to the land claims of the original owners. But Sheriff “Careless”Carniody refuses to be a part to the swindle, pur.sues the swindler to Chicago and brings him back to Arizona to make restitution. Incidentally. “Careless” wins the heart of Ruth Fellows, one of the swindler’s victims. We like Hart as “Careless,” but we still keep on wishing for more original vehicles. Lawrence McClo.sky’s “Silent Strength,” (Vitagraph), written for Harry Morey, docs little m.ore than, provide the virile Vitagraph star with double exposure characterizations as cousins who look alike but are utterly unlike under the skin. Henry Crozier robs his country cousin of an estate and then dares to marry the cousin’s sweetheart, still keeping up the pose that he is the honest Dan La Roche. Rather than disillusion the young woman. La Roche keeps silent, even to going to prison for the other’s misdeeds. But the villain finally gets his deserts and La Roche gets the girl. With trick camera work. M/orey punches himself in the jaw and does other apparently impossible things, but, outside of this, the storv is pretty dull. Betty Blythe is the heroine — and a very, very cold lady indeed. “Day Dreams,” (Goldwyn). is intended for a fragile fantasy, but it rolls lumberingly along, never once soaring cloud-ward. It is the lilt of an odd little girl who fancies that her knight errant will come to her from afar — and — gracious — he does. But he isn’t really a knight, for he is no other than Dan O’Hara, hired by George Graham, the cement king, to disillusion the young woman. But Primrose falls in love with Dan, everything ends happily and the amateur knight errant develops into the real thing after all. Unfortunately, the whole spirit of whimsy is lost. “Day Dreams” is as fragile as hamburg steak and onions. Madge Kennedy can play guileless young woman innocently involved in thin-ice situations, but she certainly doesn’t suggest the dreamer, Primrose. Iff fact, Primrose suggests lunacy rather than fantasy all the way thru. Indifferent acting, but some rather prett}’ back- grounds. “Mandarin’s Gold,” (World Film), is a Kitty Gordon drama, the story of a bridge fanatic who falls asleep and fancies herself in all sorts of tribulations in Chinatown due to her mania for gambling. Miss Gordon is her- cold and statuesque self as the bridge dreamer, while Warner Gland make a crafty Chinaman as sinister as only Gland can. “Mandarin’s Gold” is, however, just machine-made melodrama. Vitagraph’s “The Lion and the Mtouse” impressed us as being rather dull and uninspired. The Charles Klein drama has lost value en route to the screen. Alice Joj'ce is pleasing as Shirley Rossmore, Conrad Nagel artificial as young Ryder, while the real surprise is Mona Kingsley in a minor role. “Go West. Young Man,” with Tom Moore, is a Doug F' a i r b a n k s stor>' minus the acrobatics Gloria Swanson piroves to be a distinct screen discovery in Cecil de Mille’s “Dont Change Your Husband” (Forty-five) 1 VIOLET HeM- ING leisurely removed the make-up from her face. Her acute Englishism, her blondeness, her typical Brit- ish height and build stood out clearly. Yet there is nothing of a staccato personality about Miss Heming. She views the stage and screen with a frankly humorous and businesslike twinkle in her blue eyes. She said nothing about art during the whole chat! She didn’t refer to her ambitions ! We know that Miss Heming doesn’t look upon the photoplay as a form of art. To her it has possibilities and splendid remuneration and all that sort of thing. Indeed, she inquired quite blandly if we thought it would continue in popularity. Frankly, she is more interested in the stage. But even the footlights are ob- served thru half-humorous eyes. Acting is distinctly a business with Miss Heming. She is proud of one thing — her actor family. Miss Heming comes of rather dis- tinguished English stage folks. Her mother was Mabel Allen and her father Violet Heming comes of a dis- tinguished English stage family. Her mother was Mabel Allen and her father Alfred Heming. She came to America some fourteen years ago — a mere slip of a girl Her Ai Alfred Heming. Each summer Mr. Heming took a company to Douglas, on the Isle of Man, for a hot-weather season. The Isle of Man is the home of Hall Caine, the author, and Caine became a keen friend and admirer of Miss Heming’s father. When the Manxman wrote his best novel, “The Christian,’’ and later dramatized it, the very first performance was enacted by the Heming company. This was for copyright purposes, and Caine himself portrayed the hero, John Storm. “I stood in the wings, a mere kiddie,’’ says Miss Heming, “and watched the performance. Mrs. Caine did Polly Love, mother was the heroine and father played Drake. “I came to America some fourteen years ago,’’ continued She Doesn’t Talk of By CHARLES JAMESON (Forty-six) olet Heming Looks upon Acting as a Business Miss Heming, “and it was odd that a few years later a project was started to film ‘The Christian.’ I was of- fered a role. Pauline Fred- erick, then unknown to the screen, was to have played in it, along with James O’Neil and Brandon Tynan. But the scheme fell thru and later the play was screened^ by the Vitagraph Company.” We recalled seeing Miss Heming in a road company of “Peter Pan” with Vivian Martin, the present film star, as Peter. Then the digni- fied Miss Heming was just a mere schoolgirl Wendy, Miss Martin a juvenile and boyish Peter. Miss Heming laughed. “I thought that had been for- gotten. Wendy was my first role in this country, the very year I came over. I was just a gawky girl then. Right after that I played ‘Rebecca of Sunnybrook Farm.’ In fact, I was the original Rebecca, Edith Taliaferro playing it in New York after I had played it on the road. Violet Mer- sereau was the Clara Bell, Edith Storey the Emmy Jane, and Ernest Truex was in the cast. It was a regu- lar movie company, altho none of us thought even remotely of . the photoplay then.” Meanwhile Miss Heming kept right on growing. In- genue roles came and then leading parts with such stars as George Arliss. Altho she played in companies fairly rife with budding screen stars, the celluloid lure quite passed her by. It was not until a year or so ago that she did her first picture. “It was terrible and we shall forget all about it,” confessed Miss Heming. “I didn’t know the first thing about screen make-up and I looked quite awful. My real screen debut was in ‘The Judgment House,’ which J. Stuart Blackton produced. {Continued on page 74) Miss Heming longs for the screen to do costume or roman- tic pictures. “I know that’s rank heresy,” she says, “but I love picturesque and beautiful clothes” (Forty-seven) The Girl With the ] Nursery-Rhyme Naul tious. She has very few pictures; those in her bed room are all photographs. In the bookcases ar< - many school-books of her own and her brothers’, : i number of novels, some collections of detectiv( ■ stories and a great deal of poetry. There really is nc rose-garden. 1 put it in with my other impression; because it seemed to me that she belonged in one. Think of jier, then, as dressed in gingham and witl her brown hair wavy, tho not in curls, hanging dovvi her back, and you have a picture of her as sht looked when 1 called unexpectedly at half-past ter o’clock New Year’s morning. “If I had known you were coming,’’ she said, “llj would have thought up something thrilling to tel' you.” it hap])ened that the conversation turned or thrills, and she told me jhat." if nothing happens to prevent it, she will go to France witli the Douglas Fairbanks com- pany and make several pic-| tures there. She was girlishly afraid that "Seesaw, Marjorie Daiv, Jennie shall have a neiv master, She shall have but a penny a day, Because she dont go any faster." The - girl - who was - discovered - I jy -Geraldine- Farrar as she is today, a glimpse of her playing opposite the re- doubtable Doug, and as she was when Gerry fir.'t saw her The word “thrilling” re- peated frequently during a conversation, a clear- eyed, wholesome girl who really means it because, to her, everything is thrilling, a California bungalow, a rose-garden, wholesome- ness and again wholesomeness, a little, nervous laugh, youth incar- nate— Marjorie Daw, Because she is so easily thrilled at things she has been called “the greatest little ‘thrill’ girl in the movies.” “That is true,” she said, “I’m not a bit blase.” (.She has a way of speaking about herself as tho she were ninety, as when 1 asked her for a picture she had had taken with Geraldine Farrar, whose protegee she is, she protested, “Biit you dont want that one; it was made years ago!” and, too, when we were look- ing at photographs, the ones she thought best were always the ones that made her look the oldest,) By which it may be seen that she is a real ingenue, even tho .she has on her young shoulders a great deal of responsibility. .She is send- ing her younger brother thru school and taking care of an aunt who lives in Arizona. How'ever, //t/.t Marjorie Daw’ receives a great de;d more than “a penny a day,” and she “dont go any faster,” because Doug Fairbanks could not do so many wilds stunts for her if she, too, were moving quickly. .She has been with him for five pictures, longer than any other leading lady he has had. I saw her at her home in Hollyw'ood. It is a simple little place, simply furni.shed. There was nothing in sight that one would call a luxury. In the front room, for instance, are a handsome rug, a piano and two built-iti book- cases. All of her chairs are thoroly comfortable, tho not in the least preten- ( forty-eight) i 'By ELIZABETH PELTRET pmething might happen to prevent her bing. f “Blanche Sweet asked me to go to New jj'ork with her,” she said. “I asked Mr. airbanks if I could go, and he said that ie thought I could, but at the last minute e found that he would have to begin a icture right away, so I didn’t get to go. ,m studying French, but I’m not setting * iy heart on the trip. I sometimes think •riat if you want a thing too much, you ^ont get it.” Which last was a curious ting for Marjorie Daw to say, because if here ever was a child of fortune, she is I'lat child. Fortune has indeed smiled ! |; Marjorie f)aw was 0 r n in Colorado prings a ;ttle over feventeen ears ago. She was just fourteen years old when she first “broke ipto” moving pictures. She was not, however, a stranger to the studios. She and Mildred Harris, who is now Mrs. Charles Chaplin, were and are chums. She used to watch Mildred Harris work in “Indian stuff” at Inceville. “And,” she said, “it didn’t inspire me with the least desire to work in pictures myself ; it looked too much like real work ! But I like having Mr., Fairbanks do stunts, as the story says, ‘for me.’ “We were living in Santa Monica,” she went on. “When we moved to the city, (Los Angeles), my brother started working at the Fine Arts studio. So, too, did Mildred Harris.” Marjorie, whose real name, by the way, is Margarita House, spent a great deal of time around the Fine Arts studio, tho she never worked there. Her brother. Chandler, was featured in children’s pictures. Chandler is younger than Marjorie, but he is quite tall. (This Christmas he “blossomed” into his first long pants. He is just sixteen years old, his birthday coming in January.) But to return to Marjorie Daw’s screen begin- nings. Her first picture was with Wilfred Lucas and Cleo Madison at Universal and was called “The Love Victorious.”- Next came “The Warrens of Virginia,” made at Lasky’s at' the time that Geraldine Farrar came West to make “Carmen.” One day the great star, on her way to her dressing-room, paused to watch the fourteen-year-old girl work for a while. (Oh, well, it’s the same old story, except that in this case it really happened. It does sometimes, you know ; not, perhaps, so often in real life as in fiction, but often enough to keep hope {Continued on page 76) -When she was three years old her parents took her to New York City. “Little as I was when we first went to New York,” she said, “I remember the Hotel Belleclaire, where we "stayed. There was a fire engine-house across the street and my favorite pastime was watching the engines. Frances Starr lived there — I mean the hotel, of course, not the fire engine-house — and we became quite good friends. I remember her, but, of course, she’s for- ten me long ago !” Marjorie has resolved to always carry a notebook. “Because,” she says, “I’ve changed my ambition. I want to be a scenario writer. And, perhaps, after a while I’ll write short stories” Center, one of Marjorie’s very first pictures 1 (forty-niaie) Right : PRUDENCE EDDY Above: HAZEL O. KEENER Right ; LUCILE V. LANGHANKE The Fame ani 'HE amount of pulchritude i America is amazing! Tha " at least, is the opinion of Th Fame and Fortune judges a ter examining the thousanc of portraits entered in the ii ( ternational contest now b v ing conducted by The M( TioN Picture Classic ar The Motion Pictue Magazine. That latent talent and abi! ity were laying hidden iu every part of the countii was obvious. There ai many young women ar young men who might easi be successful on the stage they had one thing — opporti nity. The Fame and Fo; TUNE Contest is that opporti nity. The genuineness of tl opportunity is guaranteed by tl standing of the two magazines. But even the judges are surprised the amount of camera possibilities u earthed by the contest. One thing is ce tain — it is going to be no small task narrow the promising candidates down to oi or two winners. Indeed, to select an honor roll (| seven every fifteen days is almost herculean. y\fter carefully examining the thousands of pictures entered betwei January 15th and February 1st, the judges selected for the four lionor roll the following seven: Miss Prudence Eddy, of No. 3225 South Em- erson Avenue, Minne- Above : ETHEL NEWSOM SMITH ( Fifty) Above : GLADYS DILLMAN Left: ISABELLE FALCONER Below : ETHYLE FAUNCE Winnipeg. She has light-brown hair, blue eyes, and is five feet three and one-half inches in height. Miss Isabelle Falconer, of No. 423 West 120th Street, New York. Miss Falconer has been on the stage, last appearing in “Jack O’Lantern.” She was born in Milwaukee, and like Miss Smith is of red hair, while she has blue eyes. She is exactly five feet four. Miss Hazel O. Keener, of No. 1 West Grant Street, Bettendorf, Scott County, Iowa. Miss Keener was born at Fairboy, also in Iowa, and is of the blonde type. Her eyes are like her name, and she is five feet six in height. Miss Lucile V. Langhanke, of No. 1120 East 47th Street, Chicago, III. Miss Langhanke has received ■ a dramatic, musical and dancing training. She was born in Quincy, 111., has dark auburn hair, dark-brown ' eyes, and is five feet three. {Continued on page 62) I (t'ifty-one) IT I; lortune Beauties 1 ) black and she is five five inches in height. Miss Eddy 1 has never had professional experience. *■ Miss Ethel Newsom Smith, of No. 1128 Travis Ave- : nue, Fort Worth, Texas. Miss Smith was born in |! Cor’inne Griffith’s birthplace, Texarkana, Texas. Her ‘ public appearances have been limited to charity per- il formances. Miss Smith is the first successful candidate to admit of red hair. Her eyes are blue and she is exactly five feet in height. Miss Gladys Dillman, of No. 398 Sherbrooke Street, ^ Winnipeg, Man., Canada. Miss Dillman was born in J. Evelyn Nesbit in a scene from “Judge Not,” in which Miss Rosemon plays an extra By ETHEL ROSEMON The Extra Girl Becomt a Village Belle A HUSH fell on the laughing, chatting girls. They paused with grease-paint suspended in mid-air, with fingers deep in the snowy contents of cold-cream jars or with pans of black cosmetic sizzling merrily over lighted candles Their eyes turned toward the open door, while then thoughts went wandering back over the years on train; of memory awakened by the low-toned voice in th( next room. “But who was the son of Philip the Second?” “I dont know.” ' , “Oh, yes, you do. Who was he ?” | r “I dont know.” ^ 1 “Of coitrse you do, ’ You told me yesterday morning and the morning before that. Whjj cant you tell me now? Remember, candy or cake until you do.” “Oh, yes, now I know,” piped the smal voice. “It was Louis.” “Louis the what?” “Louis the Lion-hearted.” We could almost hea the teacher chuckle a; she announced a recesl in the morning’s les sons. Her rule of pedagogy from the inne consciousnes of the eterns mother, ha been tried an not found wani ing. Little Ru; sell scampere happ;ily of] perh^’s to pla at being can era-man, pe: haps to see ho i far up the seer ery he coul climb wither being caugb We smiled : sympathy an renounced oi roles of eavCt droppers to cor plete our fac for those v were soon play before tl camera. This w a s^i new phase of tl| ever-changiri celluloid worl| where stars rij and fall accor ing to their ovj ability or that their press-ageni| where the so rows, the joys, t triumphs and t defeats of the (Fifty-two)'^ I ijAn Evelyn Nesbit Feature in the Filming II very-much-alive slsadoAv folks are never flashed .i upon the screen in either a long-shot or a close- up, and where the intimate touch, such as this, that makes the whole world akin, is lost in tales ^ of sable coats that cost a princely fortune, of 'll diamonds that are guarded by detectives and of "I bank accounts that put to shame the rise of the iH mercury on the hottest day in summer. For instance, you, who will follow with interest the vision of Ruth Hayes, as she smilingly receives her diploma from the hand of the school super- intendent, would never have painted the picture of Evelyn Nesbit, the mother, with little Russell ; at her knee, going over the morning’s lessons before starting the usual routine of the studio day — that is, if I hadn’t supplied you with the model. The lessons are not haphazard smatter- ings of this and that, either, but are as carefully planned as if the movie superintendent waiting on the set were a real one who would rate the teacher according to her methods. And Russell takes to the lessons — well, just about as any normal, healthy youngster takes to anything that interrupts his play. This little dressing-room scene prepared us for the set, where Teacher Ann Eggles- ton stood primly in her correct school- marm black gowm and the entire board of directors waited on the platform for the exercises to begin. There was the usual line of flulfy girl graduates, with the corre- sponding line of awkward boys, who would be doggone glad when all the fuss was over. There were the always-among-those-present groups of doting parents and friends who never fail to thrill when the next generation “goes forth to conquer the world” — and there were the time-honored hard assembly-room seats, thank you. When everything was “set,” Miss Nesbit joined the line of {Continued on page 78) Top, another glimpse of Miss ' Nesbit in “Judge Not.’’ Cen- ter, the star trying not to listen to Direc- tor Charles J. Bra- bin’s reading of the script; and, right, Miss Nesbit volun- teering as a studio worker, with her son, Russell, as an assistant (Fifty-three) Gossip of the Pacific Coast Here is M3-rtle Lind of the Sennett forces in an informal seaside moment. In the Christmas Classic appeared a picture of Miss Lind in the very act of hanging up her stock- ing. But the portrait was labelled Ethel Linn. All of which very nearly broke little Miss Lind’s heart. So this bathing glimpse is presented by way of reparation By FRITZI REMONT Wm. S. Hart has really pulled off something new in make- ups— pulled off is right. He’s had his head shaven in order to do a convict role. Can you imagine Bill without any hair at all ? The funny part is that his new characterization is that of Hair-Pin Harry Dutton, in one of the Boston Blackie stories, running in The Red Book. Walter Long is back from service and will play Boston Blackie, George Stone is cast as Donald Dutton, son of the criminal, and Juanita Hansen plays the Poppy Girl, who tries to charm big Bill. By the way, Juanita Hansen has been traveling about under different directors. She’s mighty obliging about being loaned about, something like an umbrella in California’s rainy season. She just completed a good characterization in Anita Stewart’s latest play, under Lois Weber’s direction. One of the prettiest girls in the society world of Los Angeles, a descendant of a fine old French family, Valerie Germonprez, was en- gaged for Miss Stewart’s production also, and has done such good work that her future in pictures is assured. And now Fay Tincher’s back at Universal. She and Jane Novak are doing the principal feminine roles in “The Fire Flingers,” under the direction and lead of Rupert Julian. The latter is ad- vertising all around California \ {Continued on page 69 ) ONE of the most stirring events of the past month was the big meeting held at Doug Fairbanks’ palatial Beverly Hills home, for the purpose of perfecting a combine of the Big Five, i.e., Mary Pickford, Mr. Fairbanks, Wm. S. Hart, Charles Chaplin and D. W. Griffith, for the production and release of pictures inde- pendently of any other organization now exist- ing. Dennis O’Brien, Mr. Fairbanks' New York attorney, came out to conduct the pro- ceedings, and, as Miss Pickford was still con- fined to her home, her attorney attended the meeting with Mrs. Charlotte Pickford. This new “trust” has everybody guessing. The plans are not quite perfected, and they do say that the big men like Adolph Zukor, T. L. Tally, Jesse Lasky, et al, are standing like little boys at the circus fence, trying to peep in and find out what’s up. They, disclaim fear, but if five ^ great money-makers “go it alone” it’s surely going to be hard on sorne pj^kford up- of the concerns which have made on her first day thousands on their output heretofore. back at work (Fifty-four) Peggy Does Her Darndest Fictionized by Olive Carew from the Metro Photoplay j { i 1 “■^tou’rk stalling!” accused Y Peggy, indignantly ; “that last uppercut wouldn’t have knocked out a good healthy mosquito I” Brother Frank ruefully mas- saged a swollen area under his right eye and investigated a tender spot on the point of his jaw before replying. “That Don Quixote chap who used to go round scrapping with windmills didn’t have anything on me!” he declared. “If this is the way you go at it for fun, I’d sure hate to run up against you when you were in earnest !” Peggy beamed. “My right isn’t so bad,” she admitted, with due modesty, “but I haven’t got the punch in my left I’d like. Tito is showing me how to develop one, tho. He gives me jiu-jitsu every morning in the garage. Want me to show you how I can throw a man over my shoulder?” Her brother backed hastily away, survey- ing the small, be-bloomered figure before him with mingled respect and amaze. “Tito — you dont mean to say the mater’s lent you the new Jap butler? Oh, I say, sis, beat up the family all you like, but spare the serv- . ants. They’re so hard to get now I” “Oh, mother doesn’t know about it,” Peggy explained easily. “She thinks he’s exercising Eleanor’s pet Chow !” She raised her slim young arms above her head and indulged in a frank yawn that showed firm, even white teeth. Under the man’s golf-cap pulled over her eyes, wisps of red-gold hair straggled about her flushed, curving cheeks. One sleeve of her outing shirt exhibited a hole, and her shoes bespoke a strenuous career in the open. “How old ai'e you, anyhow. Peg?” Frank Ensloe asked, with sud- den seriousness. “Sev- enteen, isn’t it? You ought not to be thinking how to throw a man over y o u r shoulder at that ad- vanced ag*^ ! You should be studying the ways of keeping him at your side. Ivleanor ought to be able to give you pointers on that accomplishment.” “Oh, Eleanor!” Eleanor’s sister spoke with open con- tempt. “She makes me tired, the way she Theda-Baras all over the place ! And that stocking she knits on when- ever a new young man shows up — like the Penelope dame in the mythology book ! The soldier that wears that’ll have to use it for the next war. Gee, I wish you weren’t going back to college tonight ! Come on, let’s try that new uppercut over again. One, two, three — go I” The battle was raging at its liveliest when an unsuspecting group of people, arrayed in cool summer spotlessness, strolled thni the rose-hedge and paused aghast at the scene of carnage before them. The tall, lean young man in the English-cut clothes showed keen interest, the elder of the two ladies ex- hibited distinct annoyance, while the younger surveyed the muddy figure of her sisier, her blinding nose and disreputable hair with ill-concealed delight. “Jove! Ripping!” mur- mured the guest. “That little fellow has got a' punch that reminds me of Bantam Jim’s. Look at that left upper to the jaw ! Good, eh? Well, “Frank!” Mrs. Ensloe called, in a carefully modulated tone of re- proach, “Frank dear, come here a moment ! I want you to meet the Honorable Hugh Wentworth.” The two young men shook hands cordially. “You’ll have to ex- cuse my appearance, Mr. Wentworth !” Frank laughed. “My kid sister here has been showing me no mercy ! Peggy — why, where has she gone ?” For the lawn behind them was unoccupied. Peggy had precipi- tately disappeared. “Peggy is a sad tomboy, but, of “You’re stall- ing !’’ accused Peggy indig- nantly ; “that last uppercut ■'A'ouldn’t have knocked out a good healthy mosquito !’’ “PEGGY DOES HER DARNDEST” Storyizcd bA' permission from the photoplay based on Royal Brown’s story, adapted by George D. Baker. Produced by Metro and starring May Allison. Directed by George D. Baker. The cast ; Peggy Ensloe May Allison Frank Ensloe Dick Rosson Mrs. Ensloe Sylvia Ashton Mr. Ensloe Frank Currier Eleanor Ensloe Rosemary Theby Hon. Hugh Wentworth Robert Ellis “Gentleman Jim” Burke Augustus Phillips ( Fifty-five) c iiin>e, she'>. a mere child yei." I'Jeasior shrugged. "1 hui>e roll wont get tlie wrong itni)re^-''ion of .\merican girl^, Air. Wentworth! If so, I feel that's its mv jiatriotic duty to give you another one.” She lifted her eyes to him meltingly. lileanor had large, limpid eyes and u.sed them to their best advantage. ‘‘So I’m going to steal you for an hour or so on the lake all by my owny self!” ‘‘Charmed!” .said the Honorable Hugh, gallantly. “But I o'ly now, was that little fellow your sister, really? No sjioof- hig? Spunky, I call that, my word!” In the stable loft Peggy cuddled her knees to her Norfolk breast and reviewed the situation impartially. The long young man was undoubtedly the son of the English diamond broker, who had come to bring her father a large purchase of stones. The household had been in a stir over his expected arrival for days and Eleanor had bought an expensive new complexion and several ravishing gowns in preparation for him. ‘‘Why, he looked — nice !” discovered Peggy, wonderingly ; ‘‘as nice as the policeman at the corner, and the iceman, who lets me drive his cart, and Tito — like a regular person instead of a Young Man!” Peggy'^ disap])roved of Young Men on principle. They all had slicked-back hair and creased trouser-legs and a silly way of talking to girls. But this one was dififerent. She liked the way he smiled with his eyes instead of his mouth, and the way his jaw showed under the dark, clean-shaven skin. She liked ” ‘‘But w’hat’s the use ?’’ Peggy sighed, disconsolately. ‘‘Elea- nor’s vamping him already.” There was a bit of cracked mirror on the wall, where Thomas, the coachman, occasionally underwent rei)airs. Peggy went over to it and regarded the smooched and dishev- eled young person reflected therein candidly. ‘‘Beauty,” she decided aloud, cheer- fully, ‘‘is not my strong point ! But then, look at Cleopatra ! She was no cold- cream ad. Just the same, you have to hand it to her for getting what she wanted ! 2\nd I’m going to. ,\fter dinner, with a glint of malice in her brow'ii eyes she followed her sister and the Honorable Hugh t o the vine-cov- ered veranda r Fifty-six) Harri>(m l .nsloe came home tu dinner in no \cry ])lea>ant frame of miml. The headlines in three of the afternoon papers had screamed the news of the Honorable Hugh Wentworth’s arrival in America to an interested world, not omitting to state in detail his reasons for coming. By now every crook ip town knew that ‘‘The Light of the World,” the most famous diamond in e.xistence, was somewEere in his possession. ‘‘Alight just as well have given the combi- nation of the safe and had done with it!” grumbled the discomfited diamond merchant aloud, in the seclusion of his library. ‘‘It’s lucky I had that new safe-deposit drawer put in before he got here. But even then, there’s no telling ! They may have an accomplice in my own household ” He paused, staring at the incredible evi- dence of his own eyes. Peering over the top of a high-backed chair, a face, shadowed by a huge cap visor and almost concealed behind a ferocious black mustache, was gazing at him menacingly. But even as he stared the impres- sive hirsute adornment became unmanageable. It slewed to the left, toppled and slid to the floor, as the upper-lip to which it was fastened crinkled in a wide smile. ‘‘Peggy ! W’hat on earths ” her father began helplessly. ‘‘You frightened me out of a year’s growth. What’s the idea of the whiskers ?” Peggy slid out of the chair and proudly dis- played a large tin disk fastened to her chest. ‘‘Read it !” she or- MOTION PICTL'RE CLASSIC Still more mystified, her father ])eered down at the badge. “A Binkum detective !’’ he read slowly. “Am I to under- stand that this refers to — you?” “Yep! Correspondence course,” Peggy explained impor- tantly. “As soon as I heard that that big diamond was coming I wrote to the Binkum people, and I’m a real detective now ! You dont need to worry, dad — I’ll look out for it.” Mr. Ensloe managed to turn a laugh into a cough with great presence of mind. “If I’d only known of this before!” he regretted. “But I didn’t, you see, and this very afternoon I hired a man from the Central Office to come up here and guard the stone.” “Will he be disguised?” Peggy asked, crestfallen. “All good detectives have to wear disguises. I’ve got some per- fectly swell ones. You'd never guess when I have one of them on that I’m me." “No, I noticed that,” said her father, dryly, “and that re- minds me. W'asn’t there a young man attached to the dia- mond ? I dont see him anywhere about ” The sound of an opening door sent Peggy to her feet in a panic. “You’d better set your detective to guarding him. He’s in a good deal more danger of being stolen than his diamond!” she declared, darkly. “By this time Eleanor has told him that it’s wonderful to meet some one who really under- stands, and that she’s always liked Englishmen better than Americans, they’re so raw, you know, and that it’s the strangest thing, but she somehow had the feeling that they were going to be good friends !” She faced her father, a small, bloomered figure of wrath. “Pm sick and tired of being a Jack Horner, and I’m coming out of my corner. You watch and see!” She was marching up the stairs in a whirl of enthusiasm for her new- formed re.s- olution to “beat sis "“Shr fit her own game,” when a voice, deep and broad of vowel, sounded behind her, start- ling her so that she promptly fell downstairs and into a pair of outstretched masculine arms. “Miss Margaret Ensloe, I believe?” The owner of the arms, with remarkable tact, accepted the situation as tho this was the normal way in which he was accustomed to meet strange young ladies. “I’ve been hoping for the pleasure of meeting you ever since I saw that boxing exhibition this afternoon.” Peggy recovered herself and stood back, a cpieer new sensa- tion tingling in her cheeks. She did not know that .she was blushing. She only knew that she felt very small, and abashed, and very, very trouserish. “I’m — I’m just Peggy,” she murmured. “Margaret is too large in the waist and too long in the skirt for me — it’s not a good tit.” In her own room, she stamped a small foot furiously. “I acted,” she told herself, “as if I had just had my hfth birth- day ! It’s a wonder I didn’t stick my finger in my mouth !” She marched to the closet, jerked down a ruffly white or- gandie and kicked off her heavy shoes as one might fling down a gage of battle. “Never you mind, Peggy Ensloe, the bout’s not o\ er — only the first round. I may not win, but I’m going to do my darndest anyhow !” After dinner, with a glint of malice in her brown eyes, she fol- lowed her sister and the Honor- able Hugh to the vine-covered ve- randa and seated herself, placidly oblivious to Eleanor’s wireless a])- peal, between them. “Can you box, Mr. Wentworth?” she inquired, without needless cir- cumlocution. “Eve been aching to ask some one who knew about the right way of feinting with the left to cover a jab to the jaw. And what is your method of de- livering a ‘hay- maker’ ?” The Honorable With , the moonlight kind to her freckles, Peggy was not only passable — she was even pretty. The heavy waves of bright hair framed her small pointed face charmingly ; the simple white ruffles about her neck accentuated vouth of her the (Fifty-sevev) MOTION PICTURE CLASSIC Hugh’s somewhat solemn countenance grew positively animated. He entered into an ex- tremely technical discussion of swings and punches, illustrating with appropriate ges- tures, while Eleanor, arrayed in her most se- ductive gown, gazed at her small sister with an indignant amazement that changed, gradu- ally, to thoughtful calculation. With the moonlight kind to her freckles, Peggy was not only passable — she was even pretty. The heavy waves of bright hair framed her small, pointed face charmingly, the simple while ruffles about her neck accentuated the youth of her, reminding Eleanor somewhat pointedly of her own six years’ seniority. And worst of all, there was no doubt that she and the Honorable Hugh wei'e getting along very well. It was high time to put the little chit in her place. With a tolerant smile Eleanor leaned forward, and spoke as one speaks to a small, forward child. “Peggy dear, you mustn’t bore Mr. Wentworth, you know ! And isn’t it time you were running up to bed? Say good-night, like a sweet child.’’ Her tone actually purred. She laid a white, proprietory hand on the Honorable Hugh’s coat-sleeve. “You knovr I promised to show you the I'ose- garden ! Of course, it isn’t like your wonderful English gardens — America is so — so raw in some ways ” Her voice drifted back, honeyed, caressing, to Peggj^’s ears as she led the helpless Hugh, unresisting, down the veranda and out of sight. It was clever work ; Peggy had to admit that, but she did it with bad grace, and spake sundry uncomplimentary and unsis- terly things to the moon, punctuating her remarks with angry thuds of small boot-heels against the veranda rail. Afterwards she jumped down and shook a businesslike little fist in the direction of the rose-garden. “Capturing a man is pretty poor sport!’’ she declared. “They cant help themselves I But there’s some skill in capturing a crimi- nal ! I guess I’ll stick to detectiving. It’s more in my line than this ‘rose-garden-by-moonlight’ stuff !” For the next few days Peggy was very busy, but, as she was always that, no one paid her much attention. Eleanor, with a fair field to herself, had the Honora;ble Hugh so that, Peggy declared to herself with scorn, he would sit up and- beg, and roll over and over and be a dead dog whenever she com- manded. “The “Light of the World” reposed in all its scintil- lant wondrousness in the new safe-deposit drawer that Mr. Ensloe had had built for it in his massive mahogany library-table, and the Pinkerton man, disguised rather feebly as a butler, roamed the halls with an air of mystery that alone was worth the salary he was paid. On the afternoon of the fourth day since the Honorable Hugh’s arrival the chic-est of chic French maids in the kind of cap and apron they wear on the stage was wandering on the lower lawn of the Ensloe place when, turning a corner of shrubbery, she came face-to-face with a tall stranger who wore the dress of a gentleman with the unease of something else. Palpably startled and discomfited by the meeting, the stranger rallied on perceiving with whom he had to deal and chucked the pretty maid under the chin. “Hullo, sweetness !” he said, with a killing smile. “You look lonesome! I guess it’s lucky I happened along, eh ?” The pretty maid shrugged her shoulders as Paris shrugs them, and spoke several words in a French which Paris does not speak. She gave him to understand that while she did not approve of being chucked under the chin by a total stranger, she was not exceedingly angry. Emboldened, he came closer and laid a large and none too clean hand on the waves of hair that escaped from under the smart little cap. “Some thatch you got, girlie !” he volunteered. “I always liked that reddish-' goldish kind ! Say, I know where there’s a comb with brilliants set ( C ontinued on page 82) Aghast she stared at the shameless and sophisticated young person in the mirror, and for an instant she quailed. But Peggy was game I I (Fifty-eight) ^he more you cut the cuticle the faster it grows Cutting the cuticle makes it grow more quickly and leaves a ragged, rough, unsightly edge I Why cutting makes it rough, ! uneven i How to have lovely, shapely nails without cutting the cuticle I ^ then you trim the cuticle around [yy your nails you cannot help cutting also into the live part of the cuticle yhich protects the delicate nail root. j Look through a magnifying glass at le cuticle you have been trimming. You yill see for yourself that you have made ttle cuts in the Iwing skin. ; In their effort to heal, these tiny cut arts grow more quickly than the rest. They become rough, dry and ragged, ■oon you have a thick,- uneven edge at le base of your nails. ^ Nowadays, cutting the cuticle has iven place to a safe way of removing One first softens it with Cutex, then 'ipes it off with a cloth, leaving a firm, inooth unbroken edge. Wrap a little absorbent cotton around the end of an orange stick (both of which come with Cutex) and dip it into the Cutex bottle. Work around- the base of the nail, gently pushing back the cuticle. ' In a moment the surplus cuticle is softened. Wash it off in warm, soapy water, press- ing back the cuticle when drying your hands. Perhaps at certain seasons, the cuticle at the base of your nails tends to become rough and dry. Cutex Cuticle Comfort is a soothing cream prepared especially to counteract such drying. You will love the way your nails look after you have given them a Cutex mani- cure. Don’t expect, however, that with only spasmodic care you can keep them well-groomed. Make the care of your nails as much a matter of habit as brush- ing your teeth. Whenever you dry your hands push back the cuticle with the towel. Then once or twice a week give them a quick Cutex manicure. Cutex, the cuticle remover, comes in 35c and 65c bottles. Cutex Nail White, Nail Polish and Cuticle Comfort are each 35c. A complete manicure set for only 21c Mail the coupon below with 21c and we will send you a complete Midget Manicure Set, which contains enough of each of the Cutex products to give you at least six manicures Send for it today.. Address Northam Warren, Dept. 904, 114 West 17th Street, New York City. If you live in Canada address Northam Warren, Dept 90i, 200 Mountain St., Montreal. Mail this coupon today NORTHAM WARREN Dept. 904 114 West 17th .St,, New York City Name Street. . . .' City State fPifty-nine) Double Exposures Conducted by F. J. S. I.MAciXK Rill Hart galloping into the Last Chance Cafe and holding uj) the soda clerk; riie meeting of Desperate Jack Holt and his confederates in the back room of the iMirror Candy Store; Handsome Harry Holmes, the city chaj), drugging the peach 'Undae of innocent little Miss (iig L. Gingham; C'harles iMay, as a young man about town, staggering out e a failure when through this easy method you might utilise thousands of dally incidents to weave thrilling piio- ' toplays and stories! Sim- ply send your name and address. "THE WON- DER BOOK FOR MTHTFIRS” will be mailed to you absolutely free. Just address AUTHORS’ PRESS Dept. 3, AUBURN, N. Y. Dd you knew that many Moving Picture actors and actresses get from $500 to $5,000 a week? Many young ladies and' youny men working for small wages could do just as well if they knew how. This book will teacJi you everj-thing from start to finish. Also tells how -and where to apply for a position. Gives the addresses of all the studios and managers and tells tyerythlng in detail. It is a pleasant and profitable profession and the demand exceeds the supply all the time. We will mail the book to you for 10c and 2c for mailing. YOUNGS PUB. CO. Dept. H. East Nofwaik, Conn. POPULARITY FOLLOWS THE UKULELE ,lf you play quaint, dreamy Hawaiian music or latest songs on the U^lele you will ^ wanted everj'\vhere. We teach by mail 20 simple lessons; give you free a genuine Hawaiian Ukulele, music, everything— no extras. Ask us to send ithe story of Hawaiian music. You will love It. No obligation — absolutely free. THE HAWAIIAN INSTITUTC OF MUSIC 1400 Broadway, Suite 804, New York I I The Fame and Fortune Beauties {Continued from page 51) Miss Ethyle Faunce, of No. 760 Ho- bart Place, N. W., IV ashington, D. C. Miss Faunce was born in the capital city. She has light-brown hair, gray eyes and is five feet three inches in height. The contest has brought forth many interesting angles on national beauty. Texas and the South West seem to be remarkably ])roductive of beauty. The coast has been going remarkably strong. New York, the supposed home and cen- ter of national pulchritude, has been barely holding its own. The Motion Picture Magazine for May will carry the fifth honor roll, pre- senting the seven best contestants enter- ing their pictures between February 1st and PYbruary 15th. The Motion Pic- ture Classic will follow with the honor roll for February 15th to March 1st. I'll is will be continued until the close of the contest. Here are some important things to note : If you wish your portrait or portraits returned, enclose the right amount of postage to cover mailing. Attach stamps to pictures with a clip. Do not place stamps in separate envelope. These pic- tures will be returned upon examina- ' tion by the judges for the monthly honor rolls. I If your pictures were entered before February 1st and you have not won a I place on any of the honor rolls, try I again. Because you have submitted one or more pictures does not bar you from j trying again. The quality of your por- I trait, weakness of photography, etc., may have had something to do with its failure to win a place. Try not to send hand-colored por- traits. In reality these injure your chances of consideration. The judges prefer to consider all contestants equally. Besides, if a colored picture is selected for the honor roll, it will not reproduce as well in an engraving as an ordinary portrait. The contest is open to men. This should be repeated, perhaps. Many mas- culine contestants have appeared, but, we regret to r-eport, their average hasn’t nearly approached the so-called weaker sex. Upon the closing, the final winner will be selected. Undoubtedly he or she, (as the contest is now open to men), will be selected from among the various semi- monthly honor rolls. It is possible that three or four leaders may be chosen and invited to come to New York for test motion pictures, after M'hich the final winner will be decided upon. It is also possible that a first prize may be awarded to both a man and a woman. This will, however, be decided later, an announcement being made in both The Motion Picture Classic and The Mo- tion Picture Magazine. Since the winner will be named from the various honor rolls, it is important that contestants submit their portrait, or portraits, at the earliest possible mon it thus getting, if possible, an early placu these rolls. It is important, if you have alnii won a place on the honor roll, that ij submit at least several more picturfti be used later by the judges. In li case, contestants should write the w di "honor roll” across the face of then trance coupon which is attached to In portrait. The words should be wrei in red ink, to be plainly distinguishe Let us briefly outline the purpos o: the contest once more ; The two magazines will give vi years’ guaranteed publicity to the n ner. This will include cover portrai ii colors, special interviews, pictures, >» cial articles, etc. — the sort of publ^ that could not be purchased at any pa The Motion Picture Classic and ijii Motion Picture Magazine will sei an initial jjosition for the winner A other opportunities, if necessary. A the end of two years The Motion ^ TURE Classic and The Motion Picrjii Magazine guarantee that the winnerSl be known thruout the civilized wor!, The Fame and Fortune jury incluis Mary Pickford, Thomas Ince, Ced'd* Mille, Maurice Tourneur, Commodo ^ Stuart Blackton, James Montgonq Flagg, Howard Cliandler Christy nd Eugene V. Brewster. The terms of the contest follow: 1. Open to any young woman, or :a, in the world, except those % have already played promijni screen or stage roles. 2. Contestants must submit a poruit, upon the back of which muf be pasted a coupon from either he Motion Picture Classic or hi: Motion Picture Magazine, • 3 similar coupon of their making. ' 3. Contestants can submit any nuj'er of portraits, but upon the bac of each must be pasted an entrke coupon. ^ CLASSIC ENTRANCE COUPO Contestant No (Not to be filled in Oy contestant) X'ame ity) 3t() uH Previous stage or screen experience in detail, an.' When born. Birthplace. . . Eyes (color) Hair (color) , Height Weight Complexion. . (Sixty-two “low Seven Evenings^ Study Qualified ^ Me for a $10,000 Position By F. II. Dru7iiuiond A Gripping Success Story That Will Make All Ambitious Men and Women Ask Themselves the Qriestion: “Why Can’t I Do the Same?” 1 1 will never forget the words of Charles M. chwab, the biggest steel maiuifacturer in the [orld, who began life as a poor boy at a dollar ; day. He said: “Nothing is so plentiful in '.merica as opporlnnity. There are more jobs br forceful people than there are forcefid eople to fill them. . . Captains of industry are [jot hunting money. America is heavy with They are seeking brains — specialized l^ains— and faithful, loyal service. No one jas a corner on success. It is always up at uction ; the one who pays the most for it ets it. Whatever you resolve to be you can je.” Emerson tells us that our most important sset is not what we are, but what we are apable of being. But to go on with my story. I was 18 years ,f age, living in Farmington. 111., which at lat time was a town of 1,800 inhabitants. I ad no trade, no special training for anything, io idea of what I wanted to be in life — except hat I wanted to be a success. 1 took stock jf my surroundings. Here 1 was, in a town f limited opportunity. I had the choice of lorking in the mines, the mill, one of the ieneral stores, or possibly the bank, as a life rospect. Frankly, it didn’t appeal to me. I hrank at the thought of living a life tb.at so jiany people go through in small towns. They et a half-way decent living wage and are ontent with it. Thousands of them d,(ie, never 0 know the great possibilities they had locked jip in themselves. I deplored the fact that I had no capital to tart in business somewhere, not realizing that noney is not the only real capital a man hould have. I was not alive to the fact that 1 trained brain and conscience are the true iKcess capital. '’And so I asked myself what I could do to 'repare myself for a successful business ca- eer. Shorthand appealed to me as being the logical study to embrace. This was impressed ipon my mind from what 1 had seen others iccomplish through it. Three of our former ownsfolk — men who are today large figures in business in Detroit and Chicago — struck )ut for themselves in their youth, after learn- ng shorthand, and through their knowledge jf this art made a brilliant success in business. As 1 reasoned it, shorthand would, first of dl, assure me of a living wage no matter if made further progress through it or not. 3n the other hand, I could use it for business 10 matter how far up the ladder I might go. It would be invaluable in taking down word- for-word conversations over the telephone ; otting down notes of meetings I might be ■ailed into; making quick memoranda of the lundred-and-one details that come up daily n business. In short, it would make me a nore accurate and a more efficient business nan. As one of them explained it to me, you can iie a clerk or bookkeeper all your life and lever get anywhere to speak of. With a short- land writer it is different. You come in di- rect personal contact with the e.xecutives of die busines.s — the men who are conducting it. From them you take dictation of the inner- most things in that business and gradually ibsorb evjsrything in connection with it. In [this way 'you fit yourself to take on more and jinore responsibility, relieving the heads of the |lnisiness of details with which you are per- tectly familiar. Naturally, you become more [and more valuable as your capacity to take (Sixty-three) responsibility grows greater, and in this way work yourself up into the business. I asked the advice of a number of older ac- quaintances whom I knew were shorthand writers and was encouraged by them to take up its study. The principal drawback seemed to be the time it w'as necessary to devote to the study in order to become master of its intricacies and a proficient writer. It seemed, however, that this was a necessary evil, and although somewhat discouraged at the pros- pect, I decided to enroll in the local business college. While waiting for the new term to open, I chanced upon an advertisement of a shorthand which claimed as its principal merits, sim- plicity — no shading or position, a limited number of characters and rules to learn — yet absolute adequateness for any purpose for which shorthand could be used. This short- hand had been so arranged in lessons as to make it possible to leant it at home in a com- paratively short time — and, as it was clearly stated in the advertisement, that if I was not satisfied with the Course, I could return it without charge to myself, I sent for it. This was my first step in the right direction. 1 studied it diligently and within a week had learned all of the characters by heart, and after practicing for a month, felt so thoroughly the master of my newdy gained know'ledge that I decided to go to Chicago and seek a position immediately. I felt that placing myself on my own re- sources in a large city would broaden me and make me a bigger man in every sense. It would call out the biggest things in me — make me rely upon myself and not lean upon friends and acquaintances for assistance and encouragement in business. I secured a position as stenographer in a publishing house. Six months later I was made head stenographer at $30 a week. This brought me in frequent contact with the Gen- eral Manager, who delegated more and more responsibility to me as time wore on. In a little over a year I was made Office Manager. That was just seven years ago. To- day I am Vice-President and General Man- ager, with a small but growing interest in the business. My salary, with my bonus, netted me slightly in excess of $10,000 for 1918. In all these years of work in the various depart- ments of the business of which I am now the directing head, I found my knowledge of shorthand to be invaluable and I use it today in many time-saving short-cuts. It may be of interest to mention here the splendid progress which a younger sister of mine made by learning the same Course which I took. She was a saleswoman in one of the local stores at the time and studied evenings. In three months she secured a position as stenographer in a large Plow factory in Gales- burg, 111. Today she is the secretary to the Vice-President of the Company at a salary of $125 a month. And now, as I look back to those days in Farmington, where Father proposed that I take a job as weigher in the mines, I think of the black prospects I had at that time. And I thank my stars that I had the courage of my convictions to prepare myself for something bigger and better — and Paragon Shorthand was the means of helping me make myself. The story that Mr, Drummond recounts is the story of many of America’s greatest business men. .Tf you have read the stories of the lives of the principal fig- ures in business in this country today, you will have noted that almost invariably their start to fame anvl fortune was through their ability to write Shorthand. Take such men as Charles M. Schwab, Theodore Roosevelt, Frank C. Vanderlip, George B. Cortelyou, William Loeb, Jr., Edward Bok, and others too numer- ous to mention, and you will find that Shorthand was the instrument they used in carving out their mar- velous careers. Whether you are on the bottom or the top rung of the ladder, you will find Shorthand a wonderful aid to you in your climb to success. It will unlock the door to Opportunity more quickly than any other study you might undertake. It will prepare you for rapid advancement and groom you for the bigger job that is waiting for you. The quickest, easiest and most inexpensive way to learn Shorthand is to learn the PARAGON System. You can learn it all in the evenings of a single v*'evk at home. It is the simplest, most easily mastered sys- tem of Shorthand in existence, totally different from the ponderously technical, involved and intricate old- time systems that require many months of study be- fore they can be put to practical use. Here, for instance, is a letter that is typical of the experience of tliousands of Paragon Shorthaml writers : “Knclosed plea.se ftiul rny check for for the Paragfni Shorthand C'oui’se. 1 don't see how you can afford to .sc*'ll it at sucli a Iw fijnire. I tliought it next to impos- sible (until I tried it) to l>e).it«\’e that any system could he so concise, shmt, siriipk*. ea-^y toi leai’ii and reincnilxT and still authentic. I compared the knowledge I have attaiiuxl after but ten eveiilntfs' study to that of a student of a commercial school who has been. Kiving his undi- vided time to It for three months, anpoi'- tunlty to go through an engineering ccvllege, if he will apply himself to one of these courses will And it a practical and economical way to acauiro a kIK.^v■lf•dge of the profession second only to that acquired by devoting all tho time for years to this study, in a regular college course.” — Dr. Charles P. Steinmetz. Whal Would Their Advice BeWorihioYou? Suppose you have a knack for things electrical — that you realize what a wonder- ful opportunity for earnings and advancement the field of Electricity offers. What, then, would It be worth to you to have Edison and Steinmetz, the two foremost fig- ures in the electrical world, tell you of a thorough, practical plan by which you can acquire, right at home, the training you need for success ? Well, here is their advice, based on years of familiarity with the instruction given by the In- ternational Correspondence Schools and on per- sonal knowledge of I. C. S. trained men in their employ: “I know of the success attained by men who have taken your Courses,” says Edison. “It is a practical and economical way to acquire a knowl- edge of the profession,” says Dr. Steinmetz. I Read their full statements above. ’ • For 27 years the I. C. S. have been training men at home in their spare time for success in ' Electricity and 280 other subjects. It is training I over 100,000 men and women right now. It is ' ready and anxious to prepare you for advance- ment in Electrical Engineering or any special branch of it — or in any other line that appeals to you. I’i*ck the position you want in the work you like best, then put it up to us to prove how we can help you. Here is all we ask— without cost, without obligation, mark and mail tliis coupon. INTERNATIONlf CORRESPONDENCE SCHOOLS BOX 6760. SCRANTON. PA. Explain, without obligating me, how I can qualify for the posi* tlon, or In the subject, before which I mark X. ELECTRICAL ENOINEEK Electric Lighting and Railways Electric 'Wiring Telegraph Engineer [Telephone Work IHEOIIANIOAL ENGINEER Mechanical Draftsman I Machine Shop Practice Gas Engine Operating I CIVIL ENGINEER Surveying and Mapping I MINE FOltEUAN OR ENGINEER Metallurgist or Prospector jSTATIONART ENGINEER Marine Engineer Ship Draftsman [ARCHITECT I Contractor and Builder I Architectural Draftsman [Concrete Builder iStructural Engineer PLUMlilNG AND HEATING [Sheet Metal Worker 1 Textile Overseer or Supt. I CHEMIST Name Present Occupatioxu. a SALESMANSHIP ADVERTISING Window Trimmer Show Card Writer Sign Painter Railroad Trainman ILLUSTRATING Cartooning BOOKKEEPER Stenographer and Typist Cert. Public Accountant TRAFFIC MANAGER Railway Accountant Commercial Law GOOD ENGLISH Teacher Common School Subjects Mathematics CIVIL SERVICE Railway Mail Clerk AUTOUORILE OPERATING Auto Repairing Navigation tnSpanlfb AGRICULTURE inFreneb Poultry Raising iQ Italian Street and No>. City Wresilina Book FREE Be an expert wrcatlor. Learn at home by - mall. Wonderful lessons prepared by world’s champions Farmer Burns and Frank Gotch. Free book tells you how. Secret huldH, blocks and tricks reveMcd. Don't delay. Be strong, healthy. Uandlo big ineo with ease. Write for free book. State your age. [Farmer Burns, 1554 Ramge Bnilding, Omaha, Neb. Photoplays - Stories - Poems - Songs Anlbitimia Writers of Photoplays. Stories. Poems, Sonfcs, .send IfliJay for new catalog of helpful 8UggestIon.s. Atlas Publialiirifi Co., D-598, ("incinnati, O. Own Your Own Stocks in a Year BEGIN TO-DAY Invest wisely. Obtain Growing Income. Buy only high-grade stocks paying substantial divi- dends. First payment 20^ of purchase price. Balance in equal monthly payments during year. IVriie to-day for Booklet ''M.P.'' Francis & Co. Investment Securities Cor. Broadway and Wall St., New York Cit^ He Shot the Gun And Found that He Had the Greatest Wheat Food in Existence Prof. A. P. Anderson knew that each wheat kernel contained some 125 million ' food cells. He knew that each cell contained a trifle of moisture. So he said, “I will turn that moisture to steam, then explode it. Thus I will burst every food cell so digestion can instantly act.” It Took Years But He Did It He finally solved the problem by sealing the grains in huge guns. Then he revolved the guns for one hour in 550 degrees of heat. When he shot the guns every food cell exploded. About 125 million steam explo- sions occurred in every kernel. Airy, Flaky Bubbles The grains came out shaped as they grew, but puffed to bubbles, eight times normal size. The fearful heat created a toasted nut flavor. The explosions created flimsy morsels, which melted away at a touch. He had what is recognized everywhere now as the most delicious wheat food in the world-. But above all it was a whole grain made wholly digestible. Every food cell was broken, and that never before was done. He applied the same method to rice. Then to pellets of hominy, and created Corn Puffs. Now there are three Puffed Grains, each with its own delights, happy children are now getting about two million dishes daily. Don’t let your children miss their share. Keep all three kinds on hand. Puffed Wheat Puffed Rice and Corn Puffs Each 15c Except in Far West The Quaker Qafs (pmpany Sole Makers And (3034) f MOTION PICTUR Greased Lightning {Continued from page 42) Fletcher. To Andy there .seemed, to b only one good and sufficient reason wh- any one should remain in Pipersvilk That reason was Alice Flint. Mr. Flin further complicated matters by taking ; liking to the suave young gentlemai from New York. The final outrage wa that Armitage possessed a perfecth good, perfectly new and shiny ani wholly adequate racing car. Then seemed times innumerable when And} Fletcher, working at his smithy, looked up to rub the dust from his eyes, to se< Armitage and Alice spinning down the road. Outside the shop “Greased Light ning” stood, disconsolate. It finally transpired that Armitage was in Pipersville for purpo.ses of a race meet. Where once Andy had advertisee the demonstration of the potato slicevl .A.lden J. Armitage adverti.sed the race meet, with an offer of $200 for the win-j ner of the five-mile auto race. Andy read the elaborate posters and looked grim. That night he overhauled “Greased Lightning.” The inventor worked ; the lovelorn youth was forgot ten. Night slipped from him and day rose up, red-bannered and triumphant. Andy Fletcher rose up, too, red-visaged and triumphant. “Guess you’ll go now!" he .said, fiercely, to the nude, stripped looking vehicle before him. “Aint much but go to you !” All Pipersville overhauled their va- rious flivvers for the great meet. Mostly, they painted and varnished, or, among the more light-minded, adorned them with floral wreaths and drapings. Alden J. .Armitage had told them that the meet would “boom” Pipersville. “It’s what you folks have needed,” he told them, “what you’ve had to have — your town’ll be a big burg after this. It’ll be in all the papers.” It was in all the papers, but not just in the way Alden J. Armitage had led the trusting villagers to believe. Still more, Andy Fletcher was in them, but not at all in the way he had led himself to believe. The day of the meet had dawned golden and clear. At one the entire population of Pipersville turned out upon the ball-grounds, from which the com- peting cars were to start and to which they were to return. The entire popula- tion. with the exceptions of such per- sonages as Laban Flint, the postmaster and the express agent. Alice Flint was there, however, roseate in the eyes of And}" Fletcher. Alden J. Armitage ap- peared for a brief instant, and in anoth^ briefer instant disappeared. fl The cars started from scratch bravel^ ribbons flying, futile flowers dropping-^ all the cars saving only “Greased Light-, ning.” That stood mulishly still. Andy, very' red, tinkered desperately and in vain. The people on the grandstand laughed. Alice Flint felt her ey'es well- ing with tears. The mothering feeling came back to her again. She had never felt that way about Alden I. .And" must (Sixty -six) I :lassic ave worked so hard, too ... it was a hame . . . “Greased Lightning” looked shamed of its own ugliness. Andy had dmitted the stark ugliness, but had said hat “Greased Lightning” was “stripped or action.” He had added, further, hat there was “nothin’ but go to her !” 'ifhere seemed to be none of that com- Siiiodity at all. The people roared. They ^[houted such pleasantries as that “Fletch iVas winnin’, by gum !” “Go back to your mvil, Andy !” and other witticisms. |\.ndy grew red to the point of being per- ectly unbelievable. Both he and “Greased Lightning” were painful to behold. I The competing cars came back, one "Pimothy T. Tidwell, butcher, proud and l^oisterous winner. There was no sign |)f Alden J. Armitage. No sign of the I'aledictorian two hundred. There came inly the bedraggled spectacle of Pipers- 'ille’s one plutocrat dragging his appar- ;ntly mutilated person across the ball- jeld. Pipersville gasped and was sbll. This was a day of strangeness. Cars hat were stripped for action, but would lot run, prizes that were won but not ionated, plutocrats who came before the populace in rags and bleeding. Only Alice detached herself and ran to meet he battered specimen, who was her |;-holeric parent. Alice . . . and Andy I . . fearful of her fear. Laban Flint was badly mussed up, but "luite venomously coherent. He informed iiis daughter, Andy and his townspeople, bollectively, that Alden J. Armitage and [i “gang” had attacked him, rendered him "‘insensible and as you seehne, sirs,” and |vas even now fleeing the spot in the inuch-admired roadster. Andy heard no more. He fled back to Greased Lightning.” He called “Greased , lightning” names. He exhorted her. iHe apostrophized her. He swore and irayed at her. All at once she gave a :rightful snort. She jumped, she leaped, she seemed to live, and all that Pipers- nlle could see of Andy Fletcher was a ivhirling spiral of dust. Pipersville cheered. Alice caved in. ‘I knew he’d do it,” .she said. I Such were the details that got into the oaper. xAndy Fletcher found himself rhronicled as the famous Village Black- ;;mith. He became a figure of romance. He had not only captured a notorious jang and the leader thereof, known in ess exclusive circles as Black Peter, but le had won a race, broken a speed ■ecord, captured the girl of his heart. Laban Flint was properly appreciative. |He presented Andy with a factory-made inachine, shining to the eye. He winked Prodigiously when he made the presenta- tion. “It’s a weddin’ pre.sent,” he said. I Andy and Alice retreated to the old parn. They kist. “You wanted a fellow ■'''itb a car,” reminded xAndy. ; 'H’ve — I’ve learnt since then. He — hat man — I found out that a car doesn’t inake any difference after all. Nothing loe.s — except ” i She laid her soft cheek on his. She lushed. “I ’ she began, then valor- Hisly, “I dont care a bit about the car,” >he said, “with . . . you . , (Sixty -sc van) GIVEN AS A LARKIN TO YOU SAVING FACTORY-TO FAMILY For over thirty years the Larkin Co. has led the merchandising world in values given direct to the consumer. By purchasing your daily home supplies from the great Larkin Factories you get the saved middleman's expenses and profits in a beautiful Dress like this or your own selection from hundreds of other attractive articles. New Spring Catalog FREE Describes and illustrates the 600 Larkin Foods, Soaps, Toilet Preparations, etc.; also 1 500 useful home furnishings given with them as Premiums, in- cluding many Nationally adver- tised articles. All conform to your highest standard. The Evelyn Greeley Model by Collins of New York, given with purchase of Larkin Products. Send Coupon Today to Nearcit Addreu Xc&tLkttS Cxf* Buffalo, Chicago, Peoria Send me New Catalog No. 40 Name • . Addreu G. P. 402 tWomen-Leam to Draw Earn SB&ta^tOOaweek We teach you Mechanical Drawing, quickly and thoroughly at your home in spare time — furnish complete Drawing Outfit FREE — and help you secure a position as soon as qualified. You can quickly qualify for a big position with our help. No previous training necessary. Write for Free Book. COLUMBIA SCHOOL OF DRAFTING. Dept. 976 14th & T St. Washington, p. C. A fascinating profession that pays big. Would you like to know if you are adapted to this work? Send 10c. for our Twelve-Hour Talent Tester or Key to Movie Acting Aptitude and find whether or not you are suited to take up Movie Acting. Instruc- tive and valuable. Send dime or stamps today. Interesting. Illustrated Booklet on Movie Acting included FREE! Film Information Bureau, Sta. C. Jackson. Mich MOTION PlCTUK' ssolves ihe hair in five minules. When it ii washed off, the in is smooth and Repeated applications reduce the vitality of the after-growth rather than stimulate it. £t'«: e, but . . . ev . . . marriage '. . home life . . . Ht.nrv G. .S. ( cheerily) -Vox in the i;'ist. 3’ou may say that I am not mar d'ed with iierfect safety- - even with per- Pct truth. You may aLo say that T am i;)ing to he some da\, I ho])e. 1 dont 1 framed pictures . what of those? Henry G. S. — I’ve only one silver- framed photo in my rooms . . . Inquisitor {zvith knowing look) — And that? Henry G. S. — My mother’s ! (A clock strikes five. There is a buzz of new arrivals. Inquisitor and Victim rise under the hovering ministrations of the .Sedulous Waiter. New arrivals nudge one another, and there is an un- dercurrent of mingling voices, saying, ‘‘Henry Gsell . . . Pathe serials . . last week . . , I saw ...” Victim gives a dejrrecatory smile. Responsively the remote orchestra breaks into “Smiles.” Inquisitor and Victim make their way out among the tables and palms. Near the exit the Victim bends over to the Inquisitor. There is a mischievous look upon his face.) Victim {speaking of the photographs) — I said only one .^i/ucr- framed one. (Speaks with great meaning. Cocks one eye.) Inouisitor (plainly inarticulate) — Oh-h-h! Ah-h-h! (As they disappear from view .she bends into a veritable interrogation mark, with a whole battalion of inquiries in her eyes. Henry G. Sell is still smiling, hat in hand.) Curtain Gossip of the Pacific Coast {Conliivicd front page 54) for a double, but so far nobody has just been able to conic across with that perfectly good Julian air-sniffer. Thurston Hall has always made a great hit with Morosco Theater audiences, and since last summer he’s been in demand at the studios also, having returncil to films after a time spent solely on the stage. Dfr. Hall is to sup- port Prissy Dean in ‘‘Raggedy Ann” this time. Ruth Clifford actually lost ten pounds dur- ing her flu incarcerati'in. .She says she gained hack six of ’em as soon as she returned to Universal and began to toy with the cafeteria “eats” there. Rutii is usually very happy, but tire troubles with her Oldsmobile have been so frequent and distressing that even her hair has gone off on strike and kinks re- bel liously, she says. Enid Bennett is doing a “snografer” role in a newspaper play written liy C. (lardner Sulli- van, who is a former newspaper man. To see Enid chase the alphabet all over the lot — beg jiardon ! — tvpew riler, is very diverting. Edwin Stevens, wdio delighted audiences at the Orpheum not long ago. and who is one of the veteran comedians, dancers and comic opera “headlights,” is now supporting Doro- thy Dalton. The strange part is that Mr. Stevens must dissemble and pretend to know nothing about dancing, and Dorothy is teach- ing him the fox-trot in her new picture. Blanche Sw^eet was seen coming out of Frederick’s Beauty Parlor the other day, wear- ing a smile, a gray squirrel cape and a tiny toque. Mitchell Lewis is now a Select star and has completed arrangements to visit the snow country around Truckee for the filming of scenes in a picture which will be of “The Bar- rier” type. Mr. Lewis is one of the few stars who can boast of a downtown ciffice,_ but he is associated with his brother in a business way and spends odd moments right near Fourth and Broadwav', entertaining business or sncjal l i^itors at the bandy offices. ( C''n>:inird on page 72) Noted Movie Star and Her Secret of Beautifuf Eyes Lila Lee, the bewitching star of the Para- . mount Pictures, the charming girl actress whose wonderful eyes have excited the envy of thousands, owes much of her enchanting heantv and charm of expression to her won- derful eyelashes and eyebrows. We have placed the priceless boon of long, silky eye- lashes and well formed eyebrows within the reach of women everywhere, who will follow some simple directions and assist Nature by applying for a short time. The results will ast<^'sj> as well as rlelight them. LASH-BROW- INE” nourishes and promotes the growth of the eyelashes and eyebrows in a natural way. It is a cream which bears the en- dorsement of prominent chemists and beauty specialists, and which women everywhere have found to be the one thing needed and longed for to bring out the hidden charm and beauty of their eyes. So sure are we that “LASH-BROW-INE” will give entire satisfaction that we agree to refund the money if it fails. Two Sizes, 50c and $1 Send price and we w'ill mail you LASH- BROW-INE,” and the Maybell Beauty Booklet, “The Woman Beautiful,” prepaid ■inder plain cover. Remit by com, rar- renev, U. S. stamps, or money order. LU NOT RISK IMITATIONS. Send your order today. We guarantee you will be dt, lighted. MAYBELL LABORATORIES 4305-73 Gran<^ Boulevard CHICAGO. ILL. Leacrn to Draw by the LAN DON Method Copy This Sketch — and let me see what you can do with it. Cartoonists and illustrators earn to .$125 or more per * week. A large proportion of the newspaper artists who are gaining success today were trained by this course. My practical system of personal individual lessons by mail will de- velop your drawing ability as it developed theirs. Many years’ experience drawing for newspapers and magazines qualifies me to teach you in a t't'ncticai way. Send sketch of Uncle Sam with 6c in stamps for full information about the course, together with test lesson plate, samples of students’ work and evidence of what you too can accomplish. Please state your age. The Landon School 1403 Schofield Bldg. and Cartooning Cleveland* Ohio AWTION PICTU The Soft Jieautv' S/cin ydur c;othfniunlty— pro^ in your neighl>orhooVIXX A7' ffIS PTAXO—Froin the famous sketch hy crhibiicd at the St. Loxtis E.vpositioa. “Impossible!” some persons said when I started, twenty-five years ago, but every year I obtained more students, until today many hundreds of men and women are studying with me in all quarters of the globe. Every state of the Union contains scores of accomplished players of piano or organ who obtained their catiVc, training from me hy mail, and at quarter the usual cost and effort. I will gladly refer you to any number of my gradu- ates who will soon convince you of the surprising results they obtained by my scientific method. Write for my 64-page free booklet, “How to Learn Piano or Organ.” You learn faster, not because anything is omitted, but because you use e\-ery possible scientific assistance — many of which are entirely unknoven to the average teacher. My patented invention the COLOROTONE sweeps away playing difficulties that ha^■e troubled students for generations. By its use. Transposition — usually a “nightmare” to students — becomes easy and fascinating. It enables you, in your third lesson, to play an interesting piece not only in the original key, but in all other keys as well. This one fact saves you months of valuable time. The COLORO- 'J'ONE is patented and cannot be used by any other teacher -if conservatory. With my fifth lesson I send j’-ou another important and exclusive invention, QUINN- DEX, a mechanical “movie.” It shows you every movement of my wrists, hands and fingers at the keyboard. You sec the fingers move, as clearly as if thrown on the moving picture screen. You do not have to repro- duce your teacher’s finger movements from your MEMORY — which naturally cannot be always accurate. Instead, you have the cor- rect models right before your eyes during every minute of practise. You follow them minutely and exactly without any chance of error or misunderstanding. Without Quinn- dex much of your time (and your teacher’s time) would he devoted to correcting bad habits acquired through faulty practise. This discourages more students and wastes more time than any other single factor. Quinti-dex does away with it entirely. You cannot ('btain anything like Quinn^dex except from me. Moving pictures have never before been applied to piano instruction. Quinn-dex is operated easily and simply by hand, and even a child can suc- cessfully use it. It contains 684 separate pictures. Quinn-dex is fully explained in my free booklet “How To Learn Piana. .or Organ.” Write today. The old way of studying with a so-called “private teacher” by the oral or “spoken” method is rapidly being discarded, and any- body can see why. If 'you want a teacher, “all to yourself” and can afford only $1 to $5 a lesson, it goes without saying that you can obtain only third-rate instruction. No true authority could give you his entire, exclusive attention for so small a fee. Further- more, by the old-fashioned oral method, at least half your “private teacher’s” time is absolutely thrown away in giving you routine instructions about clef signs, measure bars, sharps, flats, the \alue of notes and rests, etc., etc., which are necessarily the same for all students and could just as easily be put into writing. Of course you can’t remember a quarter of what he tells you, so most of your next lesson is taken up going over the same mate- rial again. This trulj- sinful waste is entirely done away with by my WRITTEN METHOD. Your routine instructions are all in writing for reference any time, day or night. Nothing is for- gotten nor needlessly repeated. You obtain as much of my time as you really need, and every minute of it is devoted to your real guidance, and not to routine instructions. In all essential ways you are in closer touch with me than if you were Studying by the oral method — yet my lessons cost you only 43 cents each — and they include all the many recent developments in scientific teach- ing. For the student of moderate means, this method of studying is far superior to all others. Even for the wealthiest student, there is nothing better at any price. You may be certain that your progress is at all times in accord with the best musical thought of the present day, and this makes all the difference in the world. Investigate Without Cost — Special Offer My method is endorsed by distinguished musicians and educa- tors who certainly would not recommend a second-rate system. It is for beginners, or experienced players, from 14 to over 60 years of age. You progress as rapidly or slowly as you wish, in spare time at home. All necessary music is included free and be- comes your property. Diploma and degree granted. The tuition fee is now, for a short time, cut exactly in half, on account of our Twenty-Fifth Anniversary Offer. Investigate without cost or obligation. Write today, using postcard, letter or Free Book Coupon for my 64-page free book “How to Learn Piano or Organ.” MARCUS LUCIUS QUINN CONSERVATORY OF MUSIC Studio KD Social Union Bldg. Boston, Mass. Namo. FREE BOOK COUPON QUINN CONSERVATORY, Studio KD Social Union Bldg., Boston, Mass. Pleaso send mu, without cost or obligatinn, your free booklet, “How to Learn Piano or Organ,” and full particulars of your Course ami special reduced Tuition Offer. H Seventy-three) Pay Her $3 For Each Empty Package A Suggestion to Men The 32-cent package of Quaker Oats contains 6,221 calories — the energy measure of food value. In meat, eggs and fish the average cost of 6,221 calories would be at least $3.50. So each 32-cent package served in place of meats saves around $3. And the housewife who saves it should have it. Make each empty package worth $3 in some special household fund. Then watch the fund grow. This is how some necessary foods compare in cost, at this writing, based on their calorie values : The Oat Dainty Cost of 6221 Calories In Quaker Oats - - $0.32 In Round Steak • - - - 2.54 In Veal Cutlets - - 3.53 In Average Fish - - - - 3.70 In Canned Peas - - 3.35 In Cod Fish - - - 4.85 And Quaker Oats, which costs so little, is the greatest food in the list. Analysis shows the oat to be almost the ideal food in balance and com- pleteness. Make Quaker Oats your standard breakfast. That’s the best way to bring down food cost. Quaker Oats means extra flavor without extra cost. It is flaked from queen grains only — just the rich, plump, flavory oats. We get but ten pounds from a bushel. In millions of homes this exquisite flavor has made the oat dish popular. Two Sizes: 12c to 13c — 30c to 32c Except in the Far West and South Packed in Sealed Round Packages with Removable Cover (.^O.U) .1 MOTION PICTURE She Doesn’t Talk of Heiott {Continued from page 47) “I s»5on discovered that the scre ia,, stage were radically distinct thin^' “I think, too, that every actor w'hi played in pictures has been helpecj g has been able to see himself for tl firt time. I think the films are a ■ s t q first-aid to acting.” Miss Heming. who was sitting dressing-room at the Cohan and inj Theater, where she has been play»j .season in ‘‘Three Faces East,';^hj paused in removing her make-up. ! - ‘‘The salaries in the films haviL wonderful,” she smiled, ‘‘but eve ^ says they will not continue. Tjan managers tell you every year that i Vj going broke at- the high salaries, bi'thi keep right on producing plays, jlsd pose it will be the same on the screPi ^ Miss Heming loved playing o]m Geraldine Farrar. “She’s ’ fasclll and splendid to work with,” shelM “But really the most interesting^ rience I’ve had in the studios ociril only the other day, when we werejoia a war benefit picture. Cyril Mamth] the principal role. “‘We’ll start tomorrow at 8:3i|tij director told us. ‘Dont wait foi^ breakfasts. The first scene is a i(Bi fast scene, we’ll have real food ari)U can save time and expense by it: right in the set.’ “Knowing studios, I fortified with breakfast before I starteu morning. But poor Mr. Maude bJ what they told him. It was exactly^ when the breakfast was served. Eitl time Mr. Maude was in a state cjc lapse. Then the director inforrri that he was about to take a sersy close-ups, which meant that we o only eat while the camera was u|‘n and then wait for everybody elselj filmed. We had to keep even iT breakfast. “They turned on the ghastly C|p Hewitts just as Mr. Maude looked!: plate. He had scrambled eggs, b|i queer green light made them lookp awful. ‘Oh, I say,’ protested Mr. Fu ‘I can never eat these horrible tnj But he did. Every time I see hi shudders and mentions his ‘pak bl breakfast.’ ” | Miss Heming longs for the scr n do costume or romantic picture? know that’s rank heresy,” she s|le “every one says the public wontja them. But I’m sure that’s becau t mantic photoplays have been stilte ai unreal. Were they just as hunt modern stories, the costuming woui^ picturesque aid. “You see, I love beautiful cloth “Do you intend to go back films ?” we ventured. “Going back on the screen ? Of c Doesn’t it always get you in the ‘Three Faces East,’ being a sort of melodrama, seems to have fascinafi . magnates. I’ve been receiving film| and film offers. One of them is golf get me before long.” CScvcnty-f^ IW mi I Fail to Buy These Real Photos of Movie Stars YOU admirers r-f the clever screen stars, just glance through this selected list of the BIG ONES. Wouldn’t you like 0 receive by return mail, genuine photos of your Movie Fav- ■rites, size 8x10, in original poses by the Stars. They are leautiful and life-like. Wonderful value for the money. 5c Each. Special Offer — 7 for $2. Make your selection from thb list: Theda Bara Jack Kerrigan Anita Stewart Carlyle Blackwell Lillian Lorraine Norma Talmadge Beverly Bayne Mary Miles Minter Pearl White Francis X. Bushman Mabel Normand Ben. F. Wilson Charlie Chaplin Olga 1‘etrova Earle Williams Mary Fuller Mary Pickford (’rane Wilbur The Goddess Group Blanche Sweet Lillian Walker Alice Joyce Marguerite Snow Clara K. Young and 100 others Check those you want and enclose money covering your ►urchase together with this advertisement, with your name ,ind address written plainly on the margin, and mail TODAY >0 8. BRAM, Dept. A50, 209 W. 48th St., New York. ■Joney refund^ if you are not satisfied. ' Rest Assured Faultless '§ ciMCE 18®* . SINCE rajamas and Night Shirts me2in the originality of everything in the mate- rial, style and manufacture that is worthy, at a price which gives maximum value to the wearer. Over 1 0,000 dealers recommend— "The NlGHTwear of a Nation!" Perfect hearing is now being restored, m 1 every condition of deafness or defective hearing from causes such as Catarrhal Deafaess, Relaxed or Sunk* en Drums, Roaring or Hissing Sounds. Perforated.WhoIIy or Partially Destroy, ed Drums, Discharge from Cars, etc. Wilson Common-Sense Ear Drums . . "Little Wireless Phones for the Ears"— 1 juire no medicine but effectively replace what is lacking or i wtive in the natural drums. They are simple devices, Jiich the wearer easily fits into the ears where they are I isible. Soft, safe and comfortable to wear at all times. Vrite today for our 168 page FREE book on DEAFNKS, I mg you full particulars and plenty of testimonials. WILSON EAR DRUM CO., Incorporated 07 Inter-Southem Building LOUISVILLE, KY. iring Out the Hidden Beauty • the sailed, discolored, faded or aged complexion is V * loo’k upon, Mercolized Wax gradually, gently ab- >rDs the devitalized surface skin, revealing the young, fresh, eautiful skin underneath. Used by refined women who prefer omplexions of true naturalness. Have you tried it? 4ei*CollT#»r1 V ounce package, vrith direc- rTOVUHZtCU VV aXtioDs for use, sold by aU druggists. Play Piano in One Hour>-IOc In PIANO PLAVINO MADE r^teacher needed. CompleteTeTNin^ructor. Pl®y an accompaniment to any . This chart is invaluable to anyone .^’“8 to quickly become a piano player. After ^mga tew times you can dispense with chart. ROT* ¥ «®talog of novelties for 10c, 2c postage. BOm CHART CO., Dept. D, So. Norwalk, Conn. ( Seventy-five ) ^liow wilUlie Palmer Plait lielp me ^become a It will show you how to put your “movie” ideas into proper, acceptable form— The Palmer Plan Handbook — which is only one of the units of the Palmer Plan — will give you in one reading a broader grasp of the rules of photoplay writing than you could pos- sibly secure outside the studios in a lifetime. In^ it, Frederick Palmer — one of the best known screen authors in America — brings the studio home to you and shows you, step by Step, how photoplays are written and produced. In language so clear and simple that anyone can under- stand— he reveals the story-structure around which ALL suc- cessful photoplays are built — lays bare the “little tricks of the trade’* — shows you where to find plot material and how to recognize it — how to gather ideas from everyday life — how to build up tense situations and powerful climaxes — what to use and what to avoid — what producers want and do not want. In fine — he tells you the things you must know to put your stories over! Nor must you suppose that the Palmer Plan stops there; for, after this — It will give you the benefits of Frederick Palmer’s Personal Advisory Service— Through this Service — Mr. Palmer personally reads, criti- , cises and corrects your first three photoplay synopses at any time within one year, after you enroll . in the Palmer Plan. Each manuscript receives as many criticisms as required. Mr. Palmer’s helpful criticisms have smoothed out many problems for ambitious beginners; for, he has a wonderful perception that picks out the flaws in a story and shows you how to rebuild the weak spots — how to strengthen the plot — ! how to advance the action of the play. Stop and think — where else could you get a man of Frederick Palmer’s caliber to give you individual criticisms of your work — to help you develop your ideas — to correct your errors — to help you over the rough spots — and show you the way to success as a photoplay writer .1* Nor must you suppose that the Palmer Plan stops even there— in its desire to be of helpful service to you. For, in addition to all this — It will entitle you to all the privileges of our Manuscript Sales Department— This is a distinct feature of the Palmer Plan of Photoplay Writing — and is available to recognized authors and members only. Here’s the way it works: once your story has earned the Palmer Stamp of Approval it is submitted personally by our Studio Representative to the director, star or editor for whom, your script is best fitted. Thus, your story not only finds its way to its logical market without delay — but it is so presented to the Scenario Editor or producer as to focus atten- tion on the Strong points of your photoplay. This Department is under the personal direction of Ruth S. Allen, who recently resigned as Scenario Editor for Douglas Fairbanks to join our institution. Miss Allen is in constant touch with the many producing companies in Los Angeles and vicinity, is personally acquainted with the buyers of scripts and thoroughly understands their story-requirements, which are changing from day to day. And now that you realize all this — now that you appreciate how the Palmer Plan of Photoplay Writing will carry you from primary instruction on to Advisory Service and then on to Marketing Service — can you afford to hesitate another moment? Besides — don’t forget that the Palmer Plan has an iron-clad, money-back Guarantee that enables you to examine it without a penny of risk. Tlii5» Booldei ^ellsyoii Se^foril TODAY -Hi free! Today — send for our new illustrated booklet, “The Secret of Successful Photoplay Writing”, Explains the Palmer Plan in detail — reveals the famine in photoplays — shows the fabulous prices producers are willing to pay for the right material — and how eager they are for Palmer-trained writers. Mail the coupon NOW — it’s free! PALMER PHOTOPLAY CORPORATION, * 7441. W. Heilman Building, Los Angeles, California. . Please send me, without obligation, your new booklet, “The * Secret of Successful Photoplay Writing”. Also — Special Sup- * plement containing autographed letters from the leading pro- ^ ducers, stars, editors, etc. ,« Name f J St. and No rj City State ' • HOTEL BINGHAM — Philadelphia IN THE CENTER OF EVERYTHING Large well lighted and comfortable rooms. Hot and cold ^ running water in every room. Only hotel having direct Subway and Elevated connection with edl railroad stations, wrri^ and department stores. Roof Garden. Club Brealrfast. Special Luncheons. Rooms without bath, $1.50; with bath, $2.00 up. FRANK KIMBLE. Manager. ,Iust to Get Acquainted, we will mail you 4 issues of J5he PKoto-Play World The one by which all others are governed For .$1.00 The Photo-Play World contains only the best pic- tures— Stories and Articles. Has a Staff of America’s Foremost Writers Subscribe Now, 35e a Copy, S3..50 a Year THE PHOTO-PEAY WORLD Bulletin Bldg, Dept. M. C. Philadelphia. Pa. WOU TOOconhah thatK^ofi^ jFiosy Qeluety ' mplexim Your Complexion Mars or Makes Y our Appearance This ^reat beauty marvel has instantly produced a sensation. Stubborn cases have been cured that baf- fled physicians for years. You have never in all your life used anything like it. Makes muddy com- plejtions, red spots, pimples, blackheads, eruptions vanish almost like mafeic. No cream, lotion, enamel, salve, plaster, bandafee, mask, massage, diet, or ap- paratus, nothing to swallow. _ It doesn’t matter whether or not your complexion is “awful,” whether your face is fuU of muddy spots, peppery black- heads, embarassin^ pimples and eruptions, or wheth- er your skin is rou^h and “porey", and you’ve tried almost everything under the sun to feet rid of the blemishes. This wonderful treatment in just 10 days, positively beautifies your skin in a marvelous way. Blemishes Removed Quickly and Permanently You look years younfeer. It feives the skin the bloom and tint of purity of a freshly-blown rose. In ten days you can be the subjectof wild admiration by all your friends, no matter what your afee or con- dition of health. All methods now known are cast aside. Your face, even arms, hands, shoulders, are beautified beyond your fondest dreams. All this I will absolutely prove to you before your own eyes in your mirror in 10 days. This treatment is very pleasant to use. A few minutes every day does it. Let me tell you about this really astoundinfe treat- ment free. You take no risk— send no money— just your name and address and 1 will feive you f till par- ticulars by next mail— Free. PEARL LA SAGE, Inc. Suite 673, 4325 Drexel Blvd., Chicago REDUCE Bust Reducer, Price $5.50 Chin Reducer, Price $2.00 YOUR FLESH Exactly where desired by wearing DR. WALTER’S Famous Medicated Reducing Rubber Garments For Men and Women Cover the entire body or any part. Endorsed by leading physicians. Send for illus- trated Booklet. Dr, Jeanne M. C, Walter 353 Fifth Avenue New York Billings Building, 4th Floor Ent. on 34th tit., 3d Door East Pacific Coast Representative : Adcle Miliar Co., S45 Stock' ton St., San Francisco, Cal. “DON’T SHOUT ’’ ‘ 'I hear you . 1 can hear now as well as anybody. ‘How?‘ With THE MORLEY PHONE. I’ve a pair in my ears now, but they are invisible. 1 would not know I had them in, myself, only that 1 hear all right. “The Morley PKone for the D E is to the ears what glasses are to the eyes. Invisible, com- fortable, weightless and harm- less. Anyone can adjust it.’’ Over one hundred thousand sold. Write for booklet and testimonials. THE MORLEY CO.. Dept. 792, Perry Bldg., Phila. my system on my own uer- that is recom- eoough. SATISFIED WITH YOUR APPEARANCE? A well developed body will give you a strong personality and bring you success. My system has made thousands of men and women healthy and strong. Why not you? My handsomely illustrated book “Muscu- lar Development” will benefit and interest you greatly. Send for a copy Now — Today- while it is on your mind. (Enclose 10c to cover postage, etc.) EARLE E. LIEDERMAN Dept. 401, 203 Broadway NEW YORK CITY The Girl With the Nursery-Rhyme Name {Continued from page 49) alive in the breast of the beginner.) Marjorie Daw was “discovered.” At Geraldine Farrar’s advice, Cecil B. De Mille gave the child a five-year contract. “And that,” said Marjorie Daw, “was the greatest thrill of my life!” After “The Warrens of Virginia” she appeared in “The Secret Orchard” with Blanche Sweet, “The Puppet Crown” with Ina Clair and Raymond Flatton, and “Out of Darkness” with Charlotte W alker. When she reached the “awkward” age the company sent her away to school. Among the pictures made since her re- turn are “The Jaguar’s Claws” with Ses- sue Hayakawa and “Rebecca of Sunny- brook Farm” with Mary Pickford. The Fairbanks pictures are “The Man from Painted Post,” “A Modern Mus- keteer,” “Bound in Morocco,” “He Comes Up Smiling” and “Arizona.” “But I think that the most thrilling experience I ever had in a picture was when we were making ‘A Modern Mus- keteer,’ ” she went on. “You know some of the scenes were taken at the Canyon Du Schley. Before we left here I was looking forward to a glorious time. Mil- dred Harris had a vacation about then, so she and her mother went with us. Then I fell and broke my ankle and had to be sent home. It was thrilling but disagreeable !” She belongs to the most exclusive club imaginable. They meet every Tuesday night at the home of Lillian and Dorothy Gish. The club has only a few members, the Gish sisters, Blanche Sweet, Con- stance Talmadge, Mildred Harris and Marjorie Daw being the most faithful. (Tuesday is the night that they are least likely to have engagements, because it is “fight night” at Vernon, and among the men the younger set is likely to be there in a body.) I almost forgot to tell you about Mar- jorie Daw’s New Year resolutions. She is going to try and be more careful about business and from now on she is going to carry a notebook with her wherever she goes. “Why the notebook ?” I queried. “Because,” she said, “I’ve changed my ambition. I want to be a scenario writer. And, perhaps, after a while I’ll write short stories, too ; who knows ?” Across the Footlights {Continued from page 7) Shuberts. “Scandal” has already reached the footlights in London, where it is a distinct hit, with Arthur Bourchier and Miss Kyrle Bellew in the leading roles. There is a piquant “nightie” scene in the stage version that has had London gasp- ing. Stage Notes Mrs. Vernon Castle has returned from London. She says she will not dance again, but will appear on either the stage or screen. Nat C. Goodwin died at the Claridge {Continued on page 83) FACES MADE YOUNG The secret of a youthful face will be sent to any woman who has any kind of a facial disfigurement caused by age. Every woman who has a single facial defect should know about these remarkable Beauty Exercises which remove wrinkles, crow’s feet, fill up hollows, give roundness to scrawny necks, clear up sallow skins and restore the charm of girlhood beauty. iNo creams, massage, mashs, plasters, straps, vibra- tors or otlier artificial means. Results Guaranteed Write for this Free Book which tells just what to do to make your complexion smooth and beautiful. Write today. Kathryn Murray, Inc., 436 Garland Bldg., Chicago, Illinois i 100 PHOTOS OF MOVIE STAR , reproduced in half-tones. Yoii ' favorites are all here — Chaplir , Bushman, Pickford, Bara, Pea White, Joyce, Clark, etc. A ■ the STARS in real classy poses. Sui i able for framing. Set mailed for 15 ' with catalog of other MOVIE article:’ i YOUNGS PHOTO CO., Dept. B, So. Norwalk, Conj | ■ '[ 1 Write the Wordsil For a Song Write the words for a song. We revise i song-poems, compose music for them, and . guarantee to secure publication on a | royalty basis by a New York music pub- J lisher. Our Lyric Editor and Chief Com- : poser is a song-writer of national reputa-i i tion and has written many big song-hits, j ( Mail your song-poem on love, peace, vic- tory or any other subject to us today. i| Poems submitted are examined free.n ( BROADWAY COMPOSING STUDIOS J 107-F Fitzgerald Bldg., Broadway at Times Square, NEW YORE : $3M.8$4WILLBl] j A Beautifully Reconstructed; TYPEWRITE! With Every Modem Writing ConTeniem t WRITE TODAY FOR ILLUSTRATED CIRCULAR J Explaining Try-Before-You-Buy Plan ^ HARRY A. SMITH, 325-218 North Wells St., Chicago, i Short-Story Writing, i A Course of forty lessons in the history, form, structure, ! d and writing of the Short-Story taught by Dr. J. Berg 1 Esenwein, for years Editor of Lippincott’s. Two important contributors to i the June Atlantic Monthly are H. C. S. folks. Our studeyits are \ selling right along to leading J 7nagazineSy from the Atlantic | down. One busy-wife afidmother \ . \ is averaging over $73 a week \ • Jrom photoplay writing alone. \ Also course in Journalism, Versification, f etc. No institution is better equipped to 1 ^ train for successful authorship. J 150-Page Catalog Free. Please Addren >fj|| THE HOME CORRESPONDENCE SCHOOL ^ I Dr. Esenwein Dept. 112 Springflold, Mast. • i % PmCE-S2.50 IF YOU CAN TELL IT FROMil ^ GENUINE DIAMOND SEND IT B/| To prove to you that our blue-white W ^ ICAN DIA^IOND closelj’ resembles A i finest genuine South African Diamfc with same DAZZLING RAINBOW-H H ’ BUILLIANCY (Guaranteed 20 yrs.);g ' will send above Ladies Tiffany Style ^ with one carat gem (Catalogue price $• *) for Half-Price to Introduce. $2.50 >? , same thing but Gents Heavy Tooth i Cher Ring (Catalogue price $6.26) 'V | $3.10. IMountincs are our finest 12kt. gold filled quality. Mejp j Diamonds are GUARANTEED 20 YEARS. SEND NO MOff 5 Simply clip out this advertisement and we will ship by mail C. i It not entirely pleased return within TWO DAYS for money '4 less actual handling charges. Give size. Act quick. Offer lim J. 4, Only one to customer. Catalogue FREE. AGENTS WANTEi f MEXICAN DIAMOND IMPORTING COMPANY. Dept. CA2. Las Cruces. NEW I {>4 (Exclusive Controllers of the Genuine Mexican Diamonefij^^ ( Seventy-six) TliN PICTURE CLASSIC lews of the Studios {Continued from Page Four) Emerson has recovered from a serious ;l]Df the flu. a White has been resting at Palm Beach restarting her new serial, “In Secret.” D'nce Reed is dividing her time between ite drama, “Roads of Destiny,” and the studios, where she is at work on her 1 production under that organization’s e Marc MacDermott is playing opposite ed in the drama, as yet unnamed. Miss Srst United production was “Her Code pi in Robert Warwick has returned from cj At the time The Classic went to Warwick had just signed with the Para- liforces and his return to the screen will film version of “Secret Service.” site reports that he would produce in :mtry after all, Herbert Brenon sailed ; 3 England early in February, taking E )oro with him. Mr. Brenon’s first pro- I in England will be “Twelve Ten,” = by Earl Carrol. Later Mr. Brenon ijduce Louis Joseph Vance’s “Daughter I Lone Wolf” and Richard Roden’s ss Impudence.” [|de Mille is now at work on Edgar Sel- iFor Better, For Worse.” Mr. de Mille isn’t a study in marriage or a war fbut “the biggest subject I have ever Petrova has returned to vaudeville for Griffith announces that he may take a )rk theater for a repertoire screen sea- ;senting_ a series of his productions from his newest, “The Fall of Baby- “The Birth of a Nation,” “Intoler- nd “Hearts of the World,” back to “The >f Dee,” “The Avenging Conscience,” ingle Standard,” “Home” and “The I Mower is now playing opposite May :s Murray, the Mack Sennett come- nies that he is to return to the stage. s Leslie and a Vitagraph company 1st returned from the South, where lulcie from Dixie” was filmed. rrison is out of the army and again. id L. Rothapfel, former director-gen- I the New York Rialto and Rivoli, is i head of Rothapfel Pictures Corpora- • h offices at 130 West 46th Street. The ganization plans to produce complete jis, including features, comedies, scenics gazine reels. ■ Im Strauss, the artist, has organized I colm Strauss Feature Films and will 1; a series of photoplays starring Delia Mr. Strauss believes Miss Hope is a "y. 1>UND CLASSIC IN DUG-OUT l Lyons, of the Land and Air jJnit, A. E. _F., writes to The Classic Hospital No. 31, Contrexville, ■ hat he is stijl alive. Reports had reached jntry that Lieut. Lyons had been killed. that another officer of that name was Uieut. Lyons was with the 79th Divi- 1 Signal Corps photographer, serving I't (i%ipaign until hostilities j H. La<€r -he was taken ill with I and had been in the hospital for five t the time of writing. 5 Lyons was with the Vitagraph com- ;> nine y^rs. He reports that he found The Classic in a German dug- ihe Bois de Consengoye, France. '‘Venty-seven) Don^t Make That Sad Mistake! LIONEL STRONGFORT The world’s sironoest and most perfect ath- lete, whose unaccepted challenge of com- petition to the greatest living "strong men” still stands. You will make one if you marry some happy, healthy, pure young girl, and make her the mother of children who will be a grief to her and a reproach to you as long as you live. Are you strong, vigorous, healthy, with good red blood in your veins and an abounding vitality, that will impart to your children the same qualities when you bring them into the world? Or are _ you weak, thin, stoop-shouldered, with your blood like water, or poisoned by constipation; dys- peptic, bilious; eating poorly and sleeping poorly — just dragging yourself through your daily tasks, with no bif or pep or get-up-and-go about you? What YOU are, your children will be, only MORE so. There’s no getting around it. The Law of Heredity Can’t Be Evaded You can be the father of strong, sturdy, happy chil- dren, no matter what you are now; if you take hold of yourself and build yourself up into the kind of man you ought to be; the kind of man you WANT to be, and — above all — the kind of man your wife or the girl who is to be vour wife, wants you to be and BELIEVES YOU TO BE NOW. Don’t Be Only Half a Man! You never can get ahead; you never can be success- ful; you never can be happy or make your wife happy or have happy children unless you WAKE UP and pull yourself out of the rut. Unless you build up your physical organism, strengthen your vital organs, clear the cobwebs out of your brain: FIT YOURSELF to live a whole man’s life and do a whole man’s work in the world. If you have erred in the past and are suffering now, or fearing the later consequences of those youth- ful indiscretions, get hold of yourself, BE A MAN; correct the conditions that will be fatal to your own happiness and the happiness of the girl you love if you sliould enter the state of matrimony while those conditions still exist. NO MATTER WHAT CAUSED YOU TO LOSE YOUR MANHOOD; whether it was your own fault or circumstances you could not control, YOU CAN BE A REAL MAN AGAIN and the father of happy, healthy, laughing children— AND I CAN SHOW YOU HOW TO BECOME ONE. Let Me Help You Become a REAL MAN I can help you build yourselF up; help you strengthen your nerves, heart, lungs, liver, stomach; help rid you of headaches, dyspepsia, indigestion, constipation. I can help you turn that thin, watery blood of yours into the rich, red blood of a fighting man fit to fight the battle of life under ANY cir- cumstance and WIN IT. Whatever handicap you may be laboring under, the result of weakness caused by early errors, I can help you correct it and without the use of powders, pills or potions of any kind. I can help you ment- ally and physically to become the kind of man you want to be: a man your wife and your children and YOU YOURSELF will be proud of — the kind of man who is A SUCCESS IN THE WORLD. Take the First Step Right Now Take hold of yourself in time, by sitting d Coupon below. Get a FREE COPY of m Health, Strength, and Mental Energy.” It will cost you three 2c stamps for mail- ing e.xpenses, nothing more, and YOU OBLIGATE YOURSELF TO NOTHING WHATEVER. Mark the subject in the coupon that interests you mos' and I will send you FREE, in addition to the book, information which you wil’ find of immense help right at the begin- nii I KNOW I CAN HELP YOU, because I already have helped thousands of other men, who bless the day — and their wives bless the day too — that they took the first step by filling out and sending me the coupon. DO IT NOW! LIONEL STRONGFORT Physical and Health Specialist 806 Park Building Newark, N. J. Personal consultation by appointment only own and filling out the Free Consultation y book, “Promotion and Conservation of frfe consultation coupon Mr. Lionel Strongfort, Newark, N. J. — Please send ine your book ‘“PROMOTION AND CONSER- VATION OF HEALTH, STRENGTH AND MEN- TAL ENERGY,” for postag’e of which I enclose three 2c stamps. I have marked (X) before the subject in which I am interested. . . Colds . . Catarrh . . Asthma . . Obesity . . Headache . .Thinness . . Rupture . . Lumbago . . Neuritis . . Neuralgia . . Flat Chest . . Deformity (describe) Name . . Insomnia . .Short Wind . . Flat Feet . Stomach Disorders . . Constipation . . Biliousness . .Torpid Liver . . Indigestion . . Nervousness . . Poor Memory . . Rheumatism . .Youthful Errors . .Vital Losses . . Impotency . . Gastritis . . Heart Weakness . . Poor Circulation . .Skin Disorders . . Despondency . . Round Shoulders . . Lung Troubles . .Increased Height . .Stoop Shoulders (806) Altc Address City ... . Occupation . State Write plainly MOTION PICTURE CU5i( WRITERS FREE BOOK! A WONDERFUL BOOK -READ ABOUT IT! Tells how easily Stories and Plays are conceived, written, perfected, sold. How many who t DREAM they can write, suddenly find it out. How the Scenario Kings and the Story Queens live and work. How bright men and women, witnout any special instruction, learn to their own amazement that their simplest Ideas may furnish brilliant plots for Plays and Stories. How your own imagination may provide an endless gold mine of Ideas that will bring you Happy Success and handsome Cash Royalties. How new writers get their names into print. How to tell if you ARE a writer. How to develop your “story fancy, weave clever word - pictures and unique, thrilling, realistic plots. How your friends may be your worst judges. How to avoid dis- couragement, and the pitfalls of Failure. HOW to WIN! This su^ prising book is ABSOLUTELY FREE. No charge. No obligation. Your copy is waiting for you. Write for it NOW. Just address WRITERS^ SERVICE Dept. 42, Auburn, N. Y. UNDER MASTER TEACHERS AtEMome A Complete Conservatory Course by Mail Wonderful home study music lessons under great American and European teachers. Endorsed by Paderewski. Master teachers guide and coach you. Lessons a marvel of simplicity and completeness. University Extension Conservatory, (with a faculty com- posed of master teachers in all branches of music) is the only recognized Conservatory of Music giving lessons by the UNIVERSITY EXTENSION METHOD, grading examina- tion papers on each lesson. Our teachers dictate individual personal letters to correct faults and make clear all doubtful points. The instruction of a Master— the individual touch of an accomplished teacher— is yours to command from the very moment you enroll. Anyone can learn at home. Any Instrument or Voice »WAY UNDER MANU- FACTURER’S PRICE! 1 Genuine, visible writing Underwoods Y— rebuilt in our factory, with Back — ICUUllO 111 WUl — i Spacer, Tabulator, Lateral Guide, iSt Over 100.000 Underwoods Sold to U. S. Govt. That makes rebuilt Under- ! woods scarce, SotSpedk. quick -m I for yours. Guaranteed forSyears. I You can rcntj buy on easy terms, ' secure cash discount or earn one lacer, Aaouiutui, untcioui Stencil Attachment, 2-color Ribbon. 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UniversitY Extension Conservatory 5431 SiegehMyers Building Chicago, IIL “I will,” said young Warner, and two days later he sailed for America and has lived here ever since. In America he appeared successfully in “Nurse Marjorie,” “Susan in Search of a Husband,” “Salomy Jane,” “These Are My People.” He became a full- fledged star in “Alias Jimmy Valentine,” from which time he has remained one of the most popular men on our stage. This winter his Broadway success was called “Sleeping Partners,” but he has signed a contract to go to California and do pictures as soon as he can leave this popular play. “It’s better that the baby should be in the land of sunshine, where she can be out of doors all day long. For myself perpetual sunshine is as tiresome as per- petual rain. The bad must come to make the good appreciated. “Do you like pictures?” “I like them if they are produced properly, which, I might add, is seldom. Frankly, I cannot tolerate a lot of noise, a lot of vulgar swearing. I will be with pleasant people — the Robertson- Cole Company. I am sure they will let me have things as I would have them. I am going to make it a rule that there be no swearing or roughness about the studio. To make a production that is artistic in any sense of the word, the at- mosphere must be congenial.” Mr. Warner is a keen student of human nature. He is a wide reader, and, of course, a clever talker. His voice has the soft-tone quality, resultant from generations of culture. He is a perfect example of control. He can feel, but you would scarcely know it. Possessed of a keen sense of humor, he never laughs boisterously. He is like a Kentucky race-horse, nerves taut, sensi- tive, with all of his surplus speed check- reined for the life race by perfect poise and mental balance. “Marriage,” says H. B. Warner, “is a success when it is fifty per cent, team- work and fifty per cent, sense of humor. The trouble with most couples is that they forget the other party is human. Wives should realize that men are crea- tures of failings. Did they laugh at them all annoyances would be forgot- ten. Women love strength in a man. Strength of mind, character, or physical strength. “I believe married life is the only happy existence. As some one once said, ‘Man was not meant to live alone.’ “My sister lives in England, you know. She has her own liti. - home in the suburbs. She is comfortable. For eight years I have tried to persuad. ■'cr to come and visit us. You see, I couldn’t make her stir herself out of her comfort- able rut even to come and see me. But now there’s Joan, so I am sure she will come to us in California, and then I will have all my people with me. I shall be a perfectly happy man.” “Will you mind leaving your New York friends?” “I have very few real friends,” n he, philosophically eyeing his cipetl smoke. “I seldom see those I have mi were they in trouble, I would wal t them barefoot over glass-covered p-e- ments, if it would help them. A find is a person who loves one for (e*s faults and wishes to help one overcn? his failings. It is easy to call ones; friend when all is rosy. “I believe in luck, you know. Lu : the only thing that makes one p(,o! succeed where another fails.” I gasped. “You believe in luck?’| “Certainly. Opportunity knocks-^ a person makes a great success, jf may have no more ability than amie man who plods all his life. Buti^c showed him his opportunity.” “And you really want your ^ daughter to go on the stage ?” I a ed my mind reverting backwards. “Certainly, if she wants to — am will want to, I am sure. I am proi’o my profession. Why shouldn’t lie The stage does as much for the h ness of humanity, perhaps more, jia any other business. People who jll of its immorality are all wrong. D not go to church as often as some, religion is in my own heart. I lo' what is right or wrong according tin] own ideals. I do not fear death, ^d' know I were going to die tomorn would not be afraid. Death hi smallest thing.” JL We are glad that H. B. Warr coming back to the screen. A who has separated the gold fror dross of existence, a man whose al talents are inborn, and who has re h( a knowledge of life as it should be /ed can give to the silversheet an a stii poise and understanding. The Extra Girl Becomes Village Belle {Continued from page 53) graduates. She smiled a greet! every one in general, and every ( particular thought she intended i for him and smiled back. That way with a genuine smile. Any n of people may take it without infr on the rights of others. Of course, it was Ruth who re the greatest round of applause, f was the most beloved girl in the ^ It was Ruth for whom Ann Egj reserved her best smile, for she b sponded to her teaching more i than any other child in the scho was Ruth’s mother, Miss Kingsle’ shed tears of joy at her unmisi popularity, which tears said moth to preserve intact for the close- bending back until her face was f with the skyline. It is only tht tears can be prevented from fol the line of least resistance, tr downward and disappearing. Tea other queer reactions, too. When {Continued on page 87) ( Seventy -eig I I a^iyiCr »^ci» ' Diamond is accompanied by a binding guarantee covering value and quality. MORE than tl\at. We guarantee you 8% yearly increase in value on all exchanges. You get absolute protection. Buy Now at Low Prices Shipments made without expense to you. Aou incur no risk. You examine carefully — if satisfactory, pay only one-flfth of the purchase price and keep it — balance 10% monthly. If unsatisfactory, return it at our expense. Don’t pay a cent until you are convinced Lyon Diamonds are Superior Value. Let us explain how to build a solid foundation for the future. Send TODAY for FREE catalog I6K. «J.M.LY0N Si CO. I Maiden lane, SewTorK KILL THE HAIR ROOT My method isi the only way to prevent the hair from growing again. Easy, painless, harmless. No scars. Booklet fiec. Write today enclosing 3 stamps. We teach beauty culture. D. J. Mahler, 404-X Mahler Park, Providence, R. I. Stories Wanted for Publication FREE EXAMINATION A fine opportunity for beginners Booklet on request NEW YORK LITERARY BUREAU, 143 W 36 Street, New York City DECORATE YOUR ROOM OR DEN With Portraits of Your Favorite Picture Players Nothing could be more appropriate for the room or den of motion picture en- thusiasts than attractive lifelike pictures of those plaj-ers whom you admire and love. The group of eighty portraits which we are now offering free with a year’s subscription are just what you need for this purpose. They are printed in rich, w'arm sepia tones by the famous rotogravure process — just the right size for framing and room decoration. THESE PORTRAITS NOT FOR SALE These can only be obtained with a year’s subscription to the Magazine or Classic. Our supply is now nearly exhausted, so Don’t Delay, but Send Your Order at Once. Just fill out, cut off and mail the attached coupon with necessary remittance. COMPLETE LIST OF THE PORTRAITS Frances Nelson Jackie Saunders Jewell Hunt Owen Moore Louise Glaum Marguerite Courtot Virginia Pearson Alice Joyce Virginia Norden Fay Tlncher Ruth Roland Kathlyn Williams Peggy Hyland Theda Bara Billie Burke Annette Kellermann King Baggot Alice Brady Bessie Eyton Viola Dana Fritzl Brunette Henry B. Walthall Fannie Ward J. Warren Kerrigan May Allison A Mary Miles MInter Charles Chaplin Cleo RIdgely Edna Mayo Beverly Bayne % Pearl White Beatrlz Michelena Marie Doro Helen Holmes Francis X. Bushman \ Orml Hawley Earle Williams Vivian Martin Clara Kimball Young Harold Lockwood 'U \ Edwin August Frank Morgan Dustin Farnum Lillian Gish Mme. Petrova • Kitty Gordon Huntley Gordon Myrtle Stedman Mabel Normand Vatli Valll >6 % Blanche Sweet Lenore Ulrich Dorothy Gish Mrs. Sidney Drew . • V Anita King Bessie Barriscale Sidney Drew 'ik N Wallace Reid Mary Pickford Norma Talmadge Ethel Clayton ^ Murray Dorothy Kelly Marguerite Clark Douglas Fairbanks Carlyle Blackwell Mdfy Fullo'' Lucille Lee Stewart Pauline Frederick Mae Busch Mollie King i ^ Jane Grey Charles Richman John Barrymore William S. Hart Muriel Ostriche V % \ v*? \ Subscription Prices U. S. Canada Foreign Magazine. . . . $2.00 $2.40 $3.00 'k. \ Classic 2.00 2.40 3.00 \ \ Both 3.50 4.10 5.50 175 M. P. PUBLISHING CO. Duffield Street Brooklyn, N. Y. Corinne, Chocolate Cake anc Deep, Dark Secret (Continued from page 21) put me in pictures. The best I coul di was to try not to look dazed. B really was. Now I’ve learnt how to my identity a little in a part, I thini “I want to do melodrama. I that best. There’s one play I’d just to do — ‘The Willow-Tree.’ Then possibility that I shall have it, too. ‘‘Every night I go to the mov^j! Miss Griffith ran on. “It’s the only ^ to advance. I study all the stars, I J love Alice Joyce best. When I tell that, and also that I have the next d ^ ing-room to Miss Joyce down at ’’tp graph, every one marvels. By allli! rules, we should be throwing make-i each other. But she’s a dear.” Miss Griffith sighed. “If I could tograph like that! My! “I love roles that call for beau costumes — simply love ’em. Gue have a luxurious soul.” We hated to stop the confessions iu!| that mysterious favor was preying our mind. “What was that you wanted us t for you ?” we asked, casual-like. “It’s this,” said Miss Griffith, all nestness. “Tell folks I’m not . . . ’cause I’m not.” “Really?” we ventured, recalling every one fancied she was Mrs. We Campbell. “Honest and true. It’s awful t credited with a husband when haven’t got one. And I haven’t, started when I was in California, port got out that I was to be marrieii press-agent here in New York re and used it in publicity just as if ii happened. And I’ve never been at stop it ever since. That report right on going and going. It’s — : horrible !” “Frightful !” we appended. “When you haven’t really got continued Miss Griffith. “I wish m weren’t out shopping. She’d prove you.” But we couldn’t wait for moth return from her shopping exped So we present our facts as we gat them. Corinne certainly ought to know Anyway, we believe it, becaus looked into those blue Griffithian e' A Dozen Chaplins, and Th Are All Charlie (Continued from page 71) You have seen people sitting besic chauffeur mentally driving the car.'j can see them stiffen as they jam^ imaeinarv brakes and step on imati imaginary brakes ana step on imaf throttles. Well, that’s Charlie at aj| fight. He ducks and snorts and d( If you sit next to him you go homi lacerated ribs. When the knc comes and one of the fighters is ( floor squirming and writhing inll Charlie’s face looks worse than tl the sufferer. (Eighi but a single 'thought m' Learn Shorthand in 5 Evenings There^s a Better Position Awaiting You! If you are ambitious, if you want to get ahead at once and advance yourself rapidly, there is a clear road open to you through K. I. Shorthand. You can learn this marvelous system of practical, simplified stenography in five evenings during spare time, at home; quickly gain speed and qualify for a position as a stenographer, ofifice manager, or secretary in weeks as compared to months by any of the old-fashioned com- plicated systems. Enjoy higher salary, better conditions, superior opportunities for advancement; interest- ing, congenial and refined work. "Talk as fast as you like. I am taking it down in K. I. Shorthand." TESTIMONIALS Quick Preparation for a Position In two weeks I learned all the lessons thoroughly. I am now doing stenographic work, having accepted a position the first of this month, and I am amazed at the speed at which I am now able to take dictation. GERTRUDE L. GIRARDEAU Used In Professions I am now past 83 and use K. I. Shorthand for my profes- sional work in making records of cases. I am greatly enthused with your simple easy-to-leam system. A. P. DAVIS, M.D. Proflclenoy In One Week! 1 learned K. I. Shorthand within five hours and in one week afterwards I was able to write 90 words per minute. I set down all my notes in K. I. Short- hand and can read them weeks later. K. I. Shorthand is worth ten times what is asked for it. BYRON W. CREW Learned In 3 Hours It was a pleasure to learn K. I. Shorthand. Within three hours I could write any word. I cim now write over 100 words per minute and am positive that by a little more practice I could speed up to 150 words a minute. R is easy to read one’s notes in K. I. Shorthand. (Miss) JOT WADSWORTH Prof essi 0 n al Sten cgraph er Recently I knew absolutely nothing of the first rudiments of shorthand. Today I am holding aposition as stenographer in the office of Inspector of Buildings, where the terms apply almost wholly to^ building construction. I think this sufficient recommend- ation of K. I. Shorthand. (Mrs.) E. M. FULTON KI For MEN AND WOMEN of all ages and occupa- tions. Constantly it is depended upon for making important memoranda, taking messages verbatim, jotting down business-getting ideas, etc. — by business executives, industrial engineers, salesmen, advertising men, writers, lawyers, teachers, farmers and numerous others. It gives stenographers a great advantage over those using other systems, since K. I. Shorthand is written without strain and read as easily as long-hand. It is so legible that employers prefer K. I. Shorthand writers because their Trj^ 2 Lessons FREE notes can be transcribed with absolute reliability. It dis- penses with all rules of light and heavy shadings, special positions on, above or below the line, and eliminates thou- sands of memory-burdening word signs — all of which makes old-fashioned stenography hard to learn. Many who could not grasp the old systems are today ex- prS’Ctical writers of K. I. Shorthand — which proves its simplicity and leam-ability. It is used in Government Civil Service positions, in courts, in Army and Navy, and in public and private business in- stitutions— which proves its capacity to meet every demand of every-day service. Costs a Trifle It is a positive fact — proved in thousands of instances — that anyone can learn K. I. Shorthand in five evenings; then acquire speed by pleasant practice. Don’t doubt this amazing truth. You can do it too. Why not try and acquire this invaluable accomplishment? Learn at home at convenient odd moments. You will receive all the help needed to make you proficient in ste- nography without taking an hour more than necessary. Cost cannot stand in the way. You can learn K. I. Shorthand at the merest fraction of the usual charge for a course in stenography When your proficiency is established, we give you a certificate attesting that fact. Mail this coupon, or write, mentioning Motion Picture Classic 30 Days’ Approval Let us mail you the first two lessons in the course free. Test your ability to learn this new shorthand. You will ’oe delighted and fascinated. Send at once for the free lessons. You as- sume no obligation. Then, should you wish to master the full course, we will send it to you on thirty days’ approval. Learn at our risk. We give you a positive guaran- tee that if you do not learn you wont be out a penny. Mail the coupon, or write to the nearer office, mentioning “Motion Picture Classic.” Address KING INSTITUTE ED.213, Station F, New York, N. Y. or 8 S. Wabash Ave., ED-213, Chicago, III. ■ KING INSTITUTE, Inc. ■ station F, New York, N. Y., or 8 S. Wahash Avo., Chicago, III. ■ Please send me the first two lessons in K. I. Shorthand, I FREE, also full information and liberal terms. j Name I I _• Address i3)-2ia (Eig'hty-one) ^ree mans FACE POWDER WKether beauty? be of Italy’s type — tbe ricK, olive coloring — or tKe ligKter complexion of morenortKem climes. Freeman’s Face Powder is tKe cKosen ac* cessory of fasKion’s favorites. 50 cents (double quantity) at toilet counters or minia- ture box for 4c. The Freeman Perfume Co. Dept, 104 Cincinnati, O. Train for Nursing-Now! Tile war is responsible for a scarcity of nurses in hospitals — their repular nurses are going to the front. Demand for trained nurses how greater than the supply. This Is your golden oppor- tunity to become a trained nurse and easily secure a fine position at S20 to $30 per week. You can QuicWy master our special Training Course during your spare time at home and receive diploma approved by best doctors. Easy terms. Hospital expe- rience given if desired. We help you find employment. Write at' once for catalog. State age. AMERICAN TRAINING SCHOOL, Dept. A, 15S5 N. La Salle St.. Chicago Character Reading 25c For 25c, Mr. Gubalke, Director of the School of Graphology, will give you a Character Reading from your handwriting. Ten lines written in pen and ink are all that is necessary. Send a sample of your own handwriting or that of a friend, sweetheart, employee or business as- sociate whose character you wish analyzed. Send to- day, and tomorrow you will receive information that will prove intensely interesting. SCHOOL OF GRAPHOLOGY Room 15S4, 1810 Wilson Ave. Chicago These Club Feet Made Straight In Four Months Annabell Williams was born with Club Feet. After other treatment had , failed, her mother brought her to the McLain Sanitarium, Jan- uary 17, 1916, at 11 years of age. Four months later they returned home — happy. Read the mother’s letter. “I took Annabell home, on May 19, 1916, mth two straight and useful feet. Today she runs and plays as any child. We can't say enough for the McLain Sanitarium and will gladly answer all letters of inquiry." Mrs. Morgan Williams, Higbee, Mo. This deformity was corrected without plaster Paris or general anaesthesia. FOR CRIPPLED CHILDREN This private institution is devoted to the treatment of children and young adults afflicted with Club Feet, Infantile Paralysis, Spinal Diseases and Curvature, Hip Disease, Wry Neck, etc. Our valuable book, “Deform- ities and Paralysis,” with Book of References, free. The McLain Orthopedic Sanitarium 818 Aubert Ave. St. Louis, Mo. A4Aj Peggy Does Her Darndest {Continued from page 58) in it that would go swell with your hair !” He came closer, leering down at hen “Listen, baby-doll, I got a hankering to see the inside of the house yonder. If you slip down tonight at twelve, say, and let me in, that comb is yours ! And a kiss in the bargain. How’s that listen to you ?” The French maid considered, smiled delightfully and without guile. “Mais certainment !” she told him. “Tonight at twelve — wee, wee !” During dinner that night Peggy was unusually silent. And afterward she dis- appeared as completely as tho Fate had simply erased her from the blackboard of Life. On the porch below, saccharine with moonlight, confidence-compelling, the Honorable Hugh held the fair Elea- nor’s hand, and thought, so clever are women, that he did it because he wanted to. In the room above a small figure was busy assuming, one after another, va- rious strange and wonderful disguises, from that of a minstrel show negro, thru low-comedy Irishman, caricatured rustic, to the same ferociously mustached indi- vidual who had disturbed Mr. Ensloe’s soliloquies In the library some nights before. But none of them was fully sat- isfactory. They did not, so Peggy de- cided, make her look different enough* Chin in cupped hands, she considered the question, and a great light was vouch- safed her. Eyes shining, cheeks flush- ing, she stole from her room and down the hall to the pink and puffy chamber where, amid rose Du Barry curtains, French gray and cane and crystal jars and bottles, her sister planned her con- quests. F rom a well-filled wardrobe Peggy chose a vampire gown of satin strung with jet, daringly cut, worldly wise, and, clasping this wickedest of costumes to her breast, she scurried back to her own room and proceeded to array herself in it. Aghast, she stared at the shameless and sophisticated young person in the mirror, and for an instant she quailed. But Peggy was game. “Tho it’s queer,” she reflected, as she sat herself down in the big chair by the window to wait, “how much more dis- guised I am by taking things off than by putting things on !” Let us now, in the manner of the poets, proceed to apostrophize midnight and bid it hasten on black-sandaled feet to keep its nightly tryst with the world. No doubts or apprehensions disturbed Harrison Ensloe’s slumbers. No fear of impending matrimony writhed thru the Honorable Hugh’s dreams. Neither her steel-pronged halo of curlers nor chin- strap harness awakened the vampirish Eleanor from pleasing visions of being presented at the Court of Saint James. Crash ! And again a crash, succeeded by a hollow groan. 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SOc. by toilet counters or mail. Dept. M.C. National Toilet Company, Paris, Tenn., U. S. A. (EigMy-two) H3TI0N PICTURE CLASSIC tin and spoke aloud, with pardonable mplacency : “A bully uppercut, if I do say so ! [it that left is still weak.” Inarticulate sounds in several keys , ew her gaze to the doorway, wherein ;Ood framed the Ensloe family and the Ijonorable Hugh. Peggy beamed upon ||em, waving an explanatory hand at fr victim. “After the diamonds,” she 'plained, succinctly. “Your precious kerlocko overslept himself, dad, so I ^iid to step in.” Mrs. Ensloe ran to her daughter with hysterical sob. “But precious,” she fiuddered, “he had — a — gun !” i“Sure he did,” assented her daughter, ilmly, “but I just naturally handed him upper to the jaw and it took. That’s :1.” |^“Oh, I say — ripping!” cried the Hon- j;able Hugh, taking a step toward her, ■ anaging to look, in spite of his disad- mtageous costume of pajamas and '•essing-gown, extremely dignified, re- iarkably handsome, essentially mascu- *ae. Glancing at him, Eleanor was suddenly ;minded of the curlers and chin-strap ilid fled with a shriek, followed more jowly by her father and mother, who lad caught a certain look on the two jices they were leaving, and were wise i their generation. |i| However, they might have stayed for ijll the Honorable Hugh. To him there Has only one person at present on earth, slim, gallant girl-creature with shy ;rown eyes and a wistful, frightened mile. With a little low laugh he went to lis One Person and took her into his rms. Peggy,” said the Honorable Hugh, “I )ve you ■" “Maybe,” suggested Peggy, against a rimson brocaded shoulder, “maybe it’s ust this dress ” “Maybe it’s just — you!” said the Hon- rable Hugh, with a shake in his deep oice. “Oh, little Peggy-girl ! Wont you ly that you do care — just a little — for le ?” Peggy’s red-gold hair nestled against is breast, Peggy’s red lips lifted to his ;iss. “Well,” whispered Peggy, con- entedly, “well. I'll do my darndest to !’’ Across the Footlights {Continued from page 76) lotel. New York, on Jan. 31. His last •ppearance was in “Why Marry?” in ■Philadelphia a few days before. ■ David Belasco has just produced a Irama of Irish village life, “Dark Rosa- jeen,” in which Eileen Huban has the eading role. I Marjorie Rambeau is playing the star .mle in Leighton Graves Osmun’s “The Fortune-Teller,” prior to departing for -ondon for an English season. I Henry Miller and Blanche Bates are 'appearing in Philip Moeller’s “Moliere,” .driller playing Moliere, Miss Bates ap- i^aring as Madame de Montespan and To^rooke Blinn being seen as Louis (Eighty-three) Begin This Spring to Wear Them Even if all makers were to use the fine materials that we do, Holeproof Hosiery would still excel because of our specialized methods of knitting. For more than sixteen years these hose have amazed the public by their durability — and they are just as durable today as ever, besides being more beautiful. Women’s and Ckildrett’s, jjc upward; Men's, 35c upward If your dealer cannot supply yott, write for illustrated book and HOLEPROOF HOSIERY CO., Milwaukee, Wis. 10 Church Alley, Livei^ool, England BU York St., Sydney, Austr Holeproof Hosiery Co, of Canada, Limited, London, Out. Don’t accept hosiery that does not bear this label. SEND FO R. 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Other positions pending. 9 WRITE PROMPTLY. A O. Brockmeyer, St. Louis, Mo., Teacher 9 ^ and Director, writes: “Will do SIO.OOO business in 1917; did m $7,000 in 1916.** O. A Templeman, teacher Sioux City, la., writes: 9 “$4,500 gross business for the year.** Wm. Place, Ir., America's § Greatest Mandolin Virtuoso, Star Soloist for Victor Talking ^ ^chine Co., UNQUALIFIEDLY ENDORSES THE GIBSON. ..nr ' Do Business on Our Capital fiipe'Sn. /i protected. Stock fumisbed. We pay the advertising. You make the p^rofit. g ^oods when sold: return goods not sold. TVy our Hunt. « those interested, our new $1.00 book “The Organization, Direction # ana Maintenai^e of the Mandolin Orchestra," by America's most success- Nam© “Everyone A 'Ciluon'-ite** , The Aeolian The Hazard Mandolin Quartet ' Quartet “Everyone a ‘Glbson’-ite” Thompson's Mandolin Orchestra' ' GIBSON MANDOLIN-GUITAR CO. 604 Parsons St. Kalamazoo, Mich., U.S.A. Gentlemen: Without obligation, send me free book, complete Cata- log, free treatise, also information about the Wm. Place. Jr., book and Instrument checked.If teacher check here t J t] Mandolin tl Mando-boss C ] Manila „ I j Guitar 1 1 MandO’Cello fi Harp-guitar Tenor Bango IJ Guitar Banja E^lained,” all free, Don^t wait, ACT HOW. Address.,... Be sure you have checked Inatxameot. , This department is for information of general interest only. Those who desire answers by mail, or a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address all inquiries to The Answer Man, using separate sheets for matters intended for other departments of this magazine. Each inquiry must contain the correct name and address of the inquirer at the end of the letter, which will not be printed. At the top of the letter write the name you wish to appear. Those desiring immediate replies or information requiring research, should enclose additional stamp or other small fee; otherwise all inquiries must await their turn. Buy an Income Month by Month Profitable and Practical Application of the Fundamental Principles of Thrift as related to the purchase of sound dividend-paying securities under the easy and convenient terms of “The Ten Payment Plan/' We have just prepared a list of investment sugges- tions, returning from 7% to 10% wherein we have given particular attention to those issues that are at- tractive in point of profit possibilities as well as in- come. Only a limited number of copies are available for gratuitous distribution. Write at once for letter P-4 together with book- let describing the work- ing of “The Ten Pay- ment Plan" in detail. E. M. Fuller & Co. 50 Broad Street New York Phones Broad 383-4-5-6-7 Wm. P. S. — Oh no, Charlie Chaplin is hand- some without his make-up. His wife is a little beauty. Carol Holloway is with Vitagraph. Thanks so much. When I get letters like yours, it makes me try to turn on my cheer- fulness and lighten the way for my readers. Lillian L. — ^Lincoln’s famous Gettysburg address was delivered Nov. 19, 1863. House Peters with the Garson Company. His last play was “The Forfeit.” Jack Holt is with Paramount, and Ben Wilson is not playing. JoviALis, THE Jovial. — Never noticed that. You like “Bleak House” best. Remember when I was a youngster I always liked “Great Expectations” and “Tale of Two Cities.” Mrs. J. M. W. — La Marseillaise, the French national anthem, was composed at Straus- burg, and was so called because it was first printed at Marseilles. May Allison’s sister never played in pictures. Dustin Farnum is 44 years old and William Farnum is 42. Believe Muh. — You ask why is it that on most of our covers the players have their mouths open. He who has fine teeth laughs most. Thanks for all you say, but applause is the spur of noble minds, the end and aim of weak ones. Slippery Slim. — So you have been called a sweet kid. Reminds me — Willie fell in the molasses barrel in the shed. “Now I’ll lick you, Willie,” his mother said, and that’s what I ought to do to you, kid. But for your ten- der years I would — you’re so sweet. All let- ters should be addressed to players in care of their company. Yes, yes — go on! Florette de Grasse. — It was General Joffre who said to the French army at the Marne, Sept. 5, 1914 : “The hour has come to advance at any cost, and to die rather than fall back.” They are thinking of renaming Ocean Boule- vard in Brooklyn Joffre Boulevard in honor of him. Sessue Hayakawa is going to remain in pictures and not go to Japan. M. V. W. — I never brought up any children, so I cant advise you — a little out of my line. But I know that a boy resents injustice more than punishment, and nothing has a better ef- fect on children than praise. Try it. Sallie Saph'ire. — A fool’s heart is in his tongue, but a wise man’s tongue is in his heart. What does this mean to you? When you find yourself inclined to be angry, speak in a low tone. Save yourself, Sallie. Susan B. — For some reason or other, I haven’t been hearing from the soldier-boys. They are all too busy. Soviet is a Russian word and means council or committee. It is used particularly at present to designate the councils of the working men and soldiers who are controlling the actions of the revolutionary government. Dame Elmore. — Elsie Ferguson has played in “The Danger Mark,” “Hearts of the Wilds,” “The Lie” and “Doll’s House.” Pauline Curley in “Bound in Morocco.” Russell. — Your letter was a cracker-jack. The shortage of coal is due to the lack of labor, congested transportation and increased consumption. But if there were no little people in the world we should not be great, and we ought not to be great except for their sakes. Henry Walthall played briefly in “The Awaken- ing” on the Broadway speaking stage. Frank. — No I am not so bald that I dont know where my bald head leaves off and my face begins, nor do I keep my hat on when I wash my face. You want more about Robert Harron. Didn’t you know that two-thirds of life are spent in hesitating, and the other third in repenting. Alice O’H. — Too late now. Toe Dancer. — As a toe dancer you may be wonderful and also a good singer, but I cant help you get in the pictures. You apparently are a good automobilist. And, as you say, actions, looks and words step from the alpha- bet and spell character. Some character toi the Orientals. i Bluebird. — Thanks for the dime. All about? Eugene O’Brien. He’s quite a boy, and getting a place in the sun for himself. Dont know! how you would describe it, but alimony is cost of an affinity. No, I never belonged to the Alimony Club — how could I on $9 per? Princess L. — Wallace Reid, he is 26. Frank Mayo married — no. But our general health is the speedometer that tells us how fast we are living. Eye-wanna-no-sum-mohr. — Shoot, and you will get it. Mignon Anderson, Metro ; Miriam Cooper, Eox ; Marguerite Courtot, isn’t play- ing. Mack Sennett is in California. Yes, foi the Brady picture. Join one of the clubs. There — is not your store of information en- riched ? . . I Pearl White Admirer. — Pearl White i: writing a book on her life. Will let you know when it is finished. Shouldn’t take mucl: longer, because she isn’t very old. Isn’t it so the higher we rise, the more isolated anc colder we are? You see if I was an ice man I’d be colder still. Clown Prince. — Jules Raucourt was Pierrof in “Prunella.” Edna Goodrich in “The House of Lies.” Nothing is too much for me. James Kirkwood directed Evelyn Nesbitt in “I Wan to Forget.” Thu Jays. — You ask what is the difference between the moon and a drunkard. That one is so old that it has whiskers. Because the moon is full once a month, and the drunkard i: full every night. But, pray, what has this te do with M. P.? So you are going to be mar ried according to the fortune-teller. My boy there is no teller of fortunes except Braelstree and Dun. Shrimp Flynn. — Alice Brady was Flora ane Helen Montrose was Mrs. Maitland in “The Death Dance.” Alice Brady is playing in “For ever After” at the Plymouth Theater, Nev York. And why worry? Shrimps dont worry The two great causes of worry are idlenes. and ill health. Dakota Bill. — Well, a box came in to ra' for Christmas without any contents, marked “Received in bad condition,” and that ma; have been from you. Bill. Thanks just thi same. Carlyle Blackwell and Evelyn Greele; in “Love in a Hurry.” (Continued on page 86) (Eighty-four) 6-Plece Set Fumed Solid Oak 4 Room FuH of FwnMure Send only $1.00 and we will ship you this handsome 6-piece library set. Only $1.00 down, then $2.50 a month, or only $24.90 in all, A positively staggering DOWN value and one of the biggest bargains we have ever offered. Look at the massive set, clip the coupon below and have it shipped on approval. Then see for yourself what a beautiful set it is. If you do not like it, return it in 30 days and we will return your money. All you have to do is send the coupon with $1.00. This magnificent library set is not shown in our regular catalog. The value is BO wonderful and the demand so great that there aren’t enough to go around, so send today — sure. Either have set sent for you to see, or tell us to mail catalog. ^ j.. This superb six-piece library set is made of selected solid oak throughout, finished in rich, dull waxed, brown fumed oak. Large arm rocker and arm chair are 36 * inches high, seats 19x19 inches. Sewing rocker and reception chair are 36 inches high, seats 17x17 inches. All four pieces are luxuriously padded, seats upholstered in brown imitation Spanish leather. Library table has 24x34 inch top, with roomy magazine shelf below, and beautifully ends. Jardiniere stand measures 17 inches high, with 12 inch top. Clip the coupon below, and send it to us with $1.00, and ship the entire six pieces, subject to your approval. No C. O. D. Shipped K. D. We ship K. D. so as to save you as much e-half of the freight charges. Easy to set up. Shipping weight about 175 pounds. Money back if not pleased. Order by No. Send $1.00 with order; $3.50 monthly. Price, only $34.90. No discount for cash. ActNow-\^ileThisSpecialOfferLasts Free Trial Coupon Don’t wait a day longer. Sit down today and send in tbe coupon for this 6-piece fumed Solid Oak Library Set.’ For a limited time only are we able to offer you this stupendous bargain. Prices, as you know, on everything are going up, up, up. It is impossible to tell just what day it will be necessary for us to increase the price of this wonderful fumed Solid Oak Library Set. So act, but act quiclL Fill out the coupon and send it to us with the first small payment and we will ship you this wonderful 6-piece fumed Solid Oak Library Set. Pieties not sold separately. Easy Payments Open an account with us. We trust honest people, no matter where you live. Send for this wonderful bargain shown above or choose from our big catalog. One price to aU cash or credit. No discount for cash* Not one penny extra fee credit. Do not ask ipr a special caso price. We cannot oSer any discount from these sensational prices. 30 Days* Trial Free Bargain Catalog Our guarantee protects ' Send for it. Shows thou- you. If not perfectly satisfied, sands ofbargains in furniture, return the article at our ex- jewelry, carpets, rugs, cu^ pense within 30 days and get _ tains, silverware, stoves, porclt your money back — also any, and lawn furniture, womens, freight you paid. Could any ^.-inen's and children’a wearing ap- Offer be fairer? pareU Send the coupon today. STRAUS & SCHRAM, (Inc.) % Dept. 1554, W. 35th St., Chicago \ Enclosed find $1.00. Ship spec- lal advertised 6-piec© Fumed Oak Library Suite. I am to have 30 days’ free trial. If I keep the suite % 1 will pay you $2.50 monthly. If not ^ satisfied. I am to return the suite ^ within 30 days and you are to refund my money and any freight charges I paid, I] 6-Plece Library Set, No. B5I86A. $24.90. Nam? Address Post Office State If you ONLY want catalog put X in box below t ] Cream Separators [] Furnifure and Stoves [] Jewelry [ ] Men's, Women's and Children's Clothine [ ] Faints [ j Roofine Send This Coupon Along with $1.00 to us now. Have this fine library set shipped on 30 days’ trial. We will also send our big Bargain Catalog listingthousands of amaz- ing bargains Only a small first payment and balance in month- ^ ly payments for anythingyou %. want. Send coupon today. STRAUS & SCHRAM (Inc.) Dept. 1 554 W. 35th Street CHICAGO (Eighty-five) **Hair Dress” Makes stubborn hair easy to comb, neat and attractive Jay Dillon Featured in Jack Norworth's ‘^Odda and Ends” Adopted by — Screen — Stage — Society Because Hair-Dress will make the most stubborn hair stay the way you comb it and retain a smooth, dressy appearance the entire evening. With Hair-Dress you can comb your hair any fashionable style— straight back — any way you want itL Hair- Dress will also give to your hair that beautiful lustre so much in vogue with men and women of the stage, the screen and society. Is harmless and acts as an excellent tonic. C^nrl frtt* Trial far ®ents today for oena ror trial jar a trial jar. use it five days. If it isn't just what you have been looking for — send it back. Your money will be cheerfully returned to you. Send United States stamps, coin or money order. Your jar of delicately scented, greaseless Hair-Dress will be promptly mailed postpaid. Send for this wonderful toilet necessity today. Send $1.00 for Three Months’ Supply HAIR-DRESS CO., Dept. D, 4632 N. Campbell Ave., Chicago Lift Corns Out With Fingers A few drops of Freezone loosen corns or calluses so they lift off Apply a few drop's of Freezone upon a touchy corn or a callus. The sore- ness stops and shortly the entire corn or callus loosens and can be lifted off without a twinge of pain. Freezone removes hard corns, soft corns, also corns between the toes and hardened calluses. Freezone does not irritate the surrounding skin. You feel no pain when applying it or afterward. Women ! Keep a tiny bottle of Freezone on your dresser and never let a corn ache twice. Tiny bottle costs few cents at drug stores — anywhere The Movie Encyclopaedia {Continued from page 84) Bee S. — Irene Castle has denied that she is to wed Tom Powers of the old Vitagraph. Some day we’ll have an article in The Classic on how double exposures are made. Your ending is good, but let me say that there is one thing worse than dishonesty — incompetency, and you have neither. Miss Movie. — So you think I am getting old very fast. Not any faster than the rest of you. Billie Burke is about 32. Antonio Mo- reno is again playing for Vitagraph. No, I haven’t been bored by your letter, and you can go on wondering whether I’m a lady or gent, as you put it. Nothing doing — you cant bribe me. (Note — Did you know that a gent is a person who wears pants and pronounces Ital- ian eye-talian?) Inquisitive Ann. — Fire away, Ann; I’ve got my typewriter all set. A regular old Monarch machine, electric lamp alongside of me, huge opening, (they call it my waste-basket), and letters in front of me, letters behind me, and — well, just letters everywhere, volleying and thundering. Let me know how you make out with your studies. Daffodil. — Reminds me of spring. Looking in the florist’s window the other day, I read a sign, “We give a packet of seed with every plant.” Across the street in another florist’s shop, read a sign, in bold type, “We give the earth with every plant.” Yes, Gale Henry is still commedienning it. Lotta Nerve. — Not so much. Clovis estab- lished the kingdom of France upon the site now occupied by the great Cathedral of Notre Dame in Paris. Oh, but Frank Losee was Uncle Tom. Appreciative. — Dont know where you can reach Leo Reed. Bushwick Commercial Girl. — Harold Lock- wood was his real name. Robert Walker is 31 years old. Yes, E. K. Lincoln is married. Thanks for the fee. Annexing Bill. — Florence Vidor played in “Till I Come Back to You.” Your letter was encouraging toward the end, but it sort of back-fired at the start. Gene. — Some one here is agin me. Who is it? The Spartans do not inquire how many the enemy are, but where they are. I am not a woman. / am not a woman. I AM NOT A WOMAN. The next person who intimates that I am should prepare for the worst. I have the grandest little bunch of spinach on my anat- omy called the chin that you ever saw, and women dont usually grow such luxuries. So you dont think Fred Stone ought to be reveal- ing the screen secrets. Mae Marsh is m-a double r-i-e-d now. Sun Maid. — No, my child, you always get an answer in The Classic. So you want to see more of Mary Miles Minter. Then you should see her in her bathing-suit. And you dont like Olive Tell, because she smokes and makes fun of God’s image, “mankind.” You’re right; the men should not be made the laughing- stock of women. Sugar Lump. — Thanks for the picture. My dear, description only excites curiosity; seeing satisfies it. Gloria Hope was in “The Auction Block.” Join one of the correspondence clubs; a list of addresses furnished upon receipt of a stamped, addressed envelope. Madelene.— So you dont think we ought to publish the private lives of the players. Why so, when they agree to it and oiir readers de- mand it? Tom Chatterton is on the stage. 1. O. U. — That’s a had title to select. Are you so used to signing it that you have the habit? May Allison and Joseph Kilgour in “Social Hypocrites.” William Duncan in “Fight for Millions.” Yes, Earle Williams is really married, and happily so. Mary Ander- son is married also. Yes, Alfred Whitman is married. Joan.— Irene Castle was with Pathe. If you care enough for the result, you will almost certainly attain it. Hazel H.— All right. Hazel. But marriage often unites for life two people who scarcely know each other. Francis Bushman and Bev- erly Bayne in “The Poor Rich Man.” They are now playing at the Vitagraph studio. Margaret and Dinah. — You just write to them and they will send their photos. SAXOPHONE Tho Marvelous PORT-O-PHONE is an aid to the DEAF! that really AIDS. Prove this at our expense. Let us send a PORT-O-PHONE to you for FIFTEEN DAYS’ FREE TRIAL, without deposit or any obligation on your part. Prove in your own way tliat the PORT-O-PHONE gives you immeasurably EASIER, BETTER and CLEARER hearing than you can obtain through any other means. Its distinctively natural, mellow t6nes brought so soothingly to your ear, will astound you. Our booklet “HOW DEAFNESS IS AIDED,” is yours ior the asking. Write for your copy today. Or call for booklet, free demonstration and advice. THE PORT-O-PHONE CORPORATION 1929 Broadway, New York City Canadian Offices: 514 New Birks Building, Montreal Free Book. I CoDtaininRCompletejf I story of the origin I and history of that j I wonderfuliiistra-^ I ment— the This book tells yoa when to nee Saxophone — singly, in quartettes, in sextettes, or in regular band; how to transpose from orchestral parts and many other things you would like to know. You can loam to play tha acala In one hour*# ’ practice, and soon be playlne popular airs. Yon can double your income, your pleasure, end your popularity. Eaay to pay by our easy payment plan. -MAKES AN IDEAL PRESENT Send for free Saxophone book and catalog of True* ^ Tone Band Instruments. RUESCIIER band instrument co« 273 Jaekaon Straat. Elkhart. Ind. You Can RENT This Phonograph on our new plan! $10 puts this YOUNG’S SUPERIOR PHONOGRAPH in your home on 30-days trial. Plays all makes of disc records. Cabinet size, 47 in. high. Rental applies on purchase. $125.00 VALUE for $62.50 Write for details of greatest phonograph bargain ever offered. OFFER LIMITED. WRITE TODAY. YOUNG’S SUPERIOR PHONOGRAPH 62 W. Madison St., Dept. C. Chicago. III. ’Riis^SSDianioifd-] EASTCR SPECIAL Looks like a $350.00 solitaire SE^D NO MONEY Simply let ns send it for FREE ex- amination, Don’t pay a penny. If ring don’t satisfy you, simply return it and yon owe nothing. Send Your Name To-day For our Money Saving Jewelry Catalog lo-E and i-emeniber you are buying direct from WHOLESALblKS at lowest prices. WANTED — Railway Mail Clerb Men — Women, 18 or over $1100 to $2000 Year Common Educa- tion Sufficient Sure Pay. Life Job. Pull Un- ^ FRANKLIN INSTITUTE / Dept. C77, Rochester. N. Y. Sirs: Send me, without charge, . ^ (1) sample Railway Mall Clerk Examination questions; (2) s' schedule showingi places of all U. S. Government coming examinations; (3) list of other government jobs now open, and (4) free book describing them. Address. (Eighty-six) MOTION PICTURE CLASSIC The Extra Girl Becomes a Village Belle {Continued from page 78) ! tors see them — real ones, that are in no I way related to the bottle of glycerine : reposing in your medicine-chest — they !! give whoops of delight and insist upon the preservation of those tears, no mat- i ter how dear the cost to the neck of the I generator. But Director Charles Brabin appre- :j‘ dated them. Does this name bring up : any associations, dear fans? Yes, he is I the same six feet something of director |l who gave me my first engagement at the |i Vitagraph ’way back in the dear dim past. You will remember he was direct- ing Peggy Hyland at that time, and you will also remember that I entered his ii: presence with fear and trembling. When :: I ran into him one evening at the Fox ! office, I greeted him with all the joy one ' bestows upon the returned collar-button. “Want some work ?” he asked. : I confessed that and the hope that I some accident might hurl me into W. F.’s " arms, or else" that I might fall gracefully in front of his patent-leathers so that he would be forced to give me some sort of notice — these and nothing more were the causes of my several pilgrimages to 46th Street. 1 “Well, ask Johnnie Kellette what to wear, and be at the studio tomorrow I morning at nine,” he concluded. I “Well, it’s winter, Ethel, and — and — • ' well, look as old-fashioned as you can. See?” So said Kellette later. I nodded understandingly, and sat up half the night trying on bows and dresses that Miss Wriggles says I wore when she was a babe in arms, but which I am still sure must have waved merrily from one of my ancestral clotheslines. Anyway, the next day I obediently clapped and clapped and clapped while Mr. Brabin was taking a thousand feet of tears. So well did my applause reg- ister that the director said I might flash some more in his picture ; in fact, a great deal more, and then, just when the birth- day party came along and all the other girls and boys of the village were there, I got “it”— -even now I am afraid to encourage its return ever so softly by its name, and Miss Wriggles and I sneezed and sneezed and sneezed, and took all sorts of medicines and all sorts of nour- ishment, while the Kliegs and the Cooper- Hewitts daily shone, but not for us. They took the birthday party, ate the cake and everything without us, and Kirah Markham, Mr. Brabin’s secretary, told me how very effective it all was and how Miss Nesbit’s surprise was so genu- ine that it brought a lump into her. Miss Markham’s, throat. Then after Miss Nesbit had bravely fought it off for a few days and later Mr. Brabin had stub- bornly declared that it shouldn’t touch one of his six feet, life again resumed its normal joyous course. This picture, “Judge Not,” is the kind that always makes the women slyly wipe their eyes in the friendly darkness of the little playhouse and causes the men to (Eighty-seven) Jh'ree Trial Play It a Week You may have your choice pf more than 2,000 instruments for a week’s trial in your own home. Play it as if it were your own. Then, if you wish, you may send it back at our expense. Trial does not cost you a penny. Convenient Monthly Payments ddHo b,^ you may pay the low manufacturer’s price at the rate of a few ~ _ cents a day. The name has stood for the highest ^ quality for nearly two centuries. Every known musical instru- X *“* ''“’K'P'I VS. *'“• nf cnia vnii af- X ... Llep^ 16M ment sold to you at direct-from-the-manufacturer’s price. We have supplied the U. S. Government with trumpets for 55 years. Send the Coupon Y abouy,„„-r special oier-diVearVomth.- _ E. 4th Street, CiDcinnatl, Ohio S. Wabaeh Avenue, Chicago, 111. 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You can earn some of this money in spare time. $3000 a Year is an ordinary income for a writer. $150 to $200 is a very ordinary price for scores of fiction magazines to pay unknown writers for a single story of two or three thousand words. The Saturday Evening Post rarely pays less than $300 for a short story and will pay any amount necessary to get stories it wants. Cash in on this opportunity. Jack London’s Opinion of Hoosier Institute Training short story writing is hensive and practical.” training that Jack London yours on a great special offer, details. Here is Jack Lon- don’s message to every ambitious writer: “I like your simple, direct, straight - from-the shoulder method of presenting the matter. As some- what of a veteran in the short story game, I feel justi- fied in giving my judgment that your course in excellently compre- And this course of endorses is Write for SEND THE COUPON FOR FREE BOOK Hoosier Institute, V Short Story Dept. 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Of course, there’s always a hand- some young minister in such a story — the romance of the plain, older ones never sees the light of the celluloid — and he always presides over a tiny white church. Such a little .church Director ' Brabin found viewing the surrounding ’ country from a green knoll in Old Tap- ' pan, N. J. ; The clang of a trolley bell has never ' disturbed the roosting of the chickens of Old Tappan, nor has a railroad ever ' lifted the mortgage from an Old Tappan farm by running gaily thru its back yard. As it was in the beginning, it nestles sweetly and quietly far away from the beaten track. We were glad that it was so, both for Old Tappan’s sake and for our own. Trolleys and railroads have ceased to thrill us seasoned travelers, while sightseeing buses that pick you up at the Fox office in New York and whirl you thru miles and miles of unbroken country — well, how could they help but cause joy to the human soul? Now and then we had to get out and walk up one hill or down another, and at regular in- tervals we were forced to admit that the air was a bit frosty for even the summer days of January. As far as the Jersey side of the Weehawken Ferry every one was talking at once, and then by degrees a general calm settled down over the two big buses. As we were going down the final stretch to Old Tappan we caught sight of Miss Nesbit, Mr. Brabin, Andy Gulp and the rest of the staff eagerly scanning the road for our approach. George Lane and his camera were already sta- tioned opposite the church, all set for action. “Gee, it makes you feel just like a star to be late and keep everybody waiting and everything, doesn’t it?” joyfully ex- claimed one of the extras. “Dream on, fair one,” encouraged her companion. “Your check will be the j best little alarm clock you ever had.” i In one corner of the tiny Tappan i church we balanced mirrors and make- up boxes on our knees in a sad attempt to make up. Meanwhile star and director paced the countryside while the sun slowly but surely continued to slip over to say “Hello” to the picture folks in Califor- nia. At last, however, we were ready, and Andy Culp arranged us in groups on the lawn, just as if we had stopped to gossip at the close of the morning serv- ice. Some of us were still exiting from the little white doorway, and soon Ruth , came forth in a becoming purple hat, a long blue cape and a quaint ruffled dress. Two of her girl friends tried to coax her to walk home with them, but, intimating that she had prospects of more pleasing companionship, she smiled her way thru the gossiping groups, stole quietly past her mother and father, who were ex- changing choice bits with friends in the foreground, over to the fence, where Alec Peters, (Gladden James), was 1 waiting for her. | (Eighty-eight) 240 '' Soijri vGokI 'Festoon, . 4 fine Diamonds, i • S40.00 ^ . A Twin Ring, 2, fint Dia- monds, S3S.00 Ladies’ Belcher, L fine Diamond. 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Ruth’s father, however, had seen him gambling around town and had failed to be dazzled. That night when Ruth, who had stayed out later than usual, tried to gain her room by the ancient and honor- able method of removing her footgear, she dropped one of her slippers, which is also an ancient and honorable method of announcing one’s arrival to a sleeping household. She soon found herself look- ing into Pere Hayes’ angry face. He warned her that if he ever saw her with Alec Peters again he would disown her. The next day Ruth told Alec of her father’s threat, and he persuaded her to elope to New York with him, promising to marry her as soon as he could obtain a license. Of course, Ruth didn’t know that he wouldn’t, but you do, and you also know that he will finally cast her off and leave her alone in a big city. The next time we appeared at the Old Tappan church, which was really just after we had consumed our sandwiches and pie, but on the screen is months and months later to allow for the minister’s trip to New York, his rescue of Ruth from the life she has been forced to lead and her return to her heart-broken mother, we were a very much excited congregation. The minister had per- suaded Ruth to resume her former place in the choir, and then he had preached a sermon on the Magdalene, hoping thus to soften the hearts of the congregation toward the wanderer. It didn’t seem to do much good, tho, for as she came from the church on the arm of her father the youngsters started to jeer and gossiping women turned their backs and drew aside their skirts. “The idea of the hussey’s coming to church!” one of my group ejaculated, vehemently. “But the minister approves,” I de- clared just as vehemently, for we had been ordered to hold indignation meet- ings that would “register.” “Of course he does. There’s a reason. Cant you see he’s sweet on her?” said Teacher Eggleston. The only excuse I can offer for our uncharitable attitude is that in reality we had not heard Crawford Kent’s sermon on “Judge Not.” He is scheduled to preach it to us tomorrow, but I dont think it’s going to make any impression upon us, for if it did, we would have to return to Cld Tappan and take the scenes all over again. We have assured Crawford that he need have no scruples about extending the sermon over an in- definite period. If it finds no resting- place within our narrow minds it will find a welcome-little-stranger wreath hung in the window of our flat purses, so here’s hoping 1 And hoping! MarfUcerite Clayton- WorldPamStai- HERMO ‘‘HAIR-LUSTR (Keeps the Hair Dressed} FOR MEN AND WOMEN Tlie hair will stay dressed after Hermo “HAIR-IiUSTR" has been applied. No more mussy, untidy looking hair. Adds a charming sheen and luster, insuring the life of the hair, as well as its beauty. 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Paramount John Barrymore In "The Test of Honor" *Enid Bennett in "Partners Three" Billie Burke In "Good Gracious Annabelle" Lina Cavallerl in 'The Two Brides" Marguerite Clark in "Three Men and a Girl" Ethel Clayton in "’Maggie PepK>er" ♦Dorothy Dalton in "Extravagance" Pauline Frederick in "Paid In Full" Dorothy Gish In "Pepw Polly" Lila Lee in "Puppy Love" Vivian Martin in "Little Comrade" Shirley Mason in "The Winning Girl" ♦Charles Ray in "The SheriCP's Son" Wallace Reid in "Alias Mike Moran" Bryant Washburn in "Poor Boob" Paramount -Artcraft Specialt "The Hun Within” with a Special Star Cast ' "Private Peat” with Private Harold Peat "Sporting Life” A Maurice Tourneur Production "The Silver King” starring William Faversham **Little Women” (from lA>ui3a M. Alcott’s famous book). A Wm. A. Brady Production "The False Faces,” A Thomas H. Ince Production Artcraft Enrico Caruso in "My Cousin" George M. Cohan in "Hit tile Trail Holiday" Cecil B. Oe MHIe’s Production "Don’t Change Your Husband" Douglas Fairbanks in "Arizona’ Elsie Ferguson in "The Marriage Price" D. W. Grifnth’s Production "The Girl Who Stayed at Horae” ♦William S. Hart in "The Poppy Girl's Husband" Mary Plckford in "Johanna Enlists" Fred Stone in "Johnny Get Your Gun" ♦Supervision of Thomas H. Inco Paramount Comedies Paramount'Arbuckle Comedy "Love" Paramount-Mack Sennett Comedies "The Village Smithy" ‘Tteilly’s Wash Day" Paramount-Flagg Comedy ‘'Beresfoj^ of the Baboons" Mr. and Mrs. Sidney Drew In "Once a Mason" HERES WHERE! A GREAT number of people have discovered a way of knowing a fine motion picture before seeing it ! It’s like a conjuring trick, simple when you know how. They have discovered that the greatest concern in the business, the Famous Players- Lasky Corporation, makes the cream of all the different types of pictures. — that these are always advertised and listed under the names Paramount or Artcraft. — that they are the vehicles for the skill and genius of practically all the foremost stars, directors, writers, photographers, painters, craftsmen, etc. — and that through the nation-wide distributing facilities of this great organization, millions of people in over ten thousand theatres see Paramount and Artcraft Pictures. Pictures so marked, they have found, always take you out of yourself. “Paramount” and “Artcraft” are handy names to identify in two huge groups, the best pictures made. Check it up for yourself. paramount and JiotUyn ^iciur&s These two trade-marks are the sure way of identifying Paramount and Artcraft Pictures — and the theatres that show them. FAMOUS PLAYERS-LASKY CORPORATION ADOLPH ZUKOR Pres. JESSE L.LASKY Vice Pres. CECIL B. DE MILLE Director CeneraL YORiO • J Paramount- Bray Plctograph One eac Paramount-Burton Holmes Ploturav One eac FOREMOST STARS. SUPERBLY DIRECTED, IN CLEAN MOTION PICTURES t 1 A K jW a I The Most Profitable Evening I Ever Spent — The Evening In Which I Acquired David M. Rothes Secret of an Infallible Memory By VICTOR JONES People say my memory is uncanny — that it must have taken years of patient effort on my part to have trained my mind to retain and recall all the faces, figures and facts I have stored away. But nothing could be further from the truth. It seems almost incredible, yet I learned the secret of an infallible memory in a single evening — and it was the most profitable evening I ever spent. Before I discovered my perfectly good memory, hundreds of important facts and figures used to slip away from me. I was a slave to the memo pad and other artificial aids to memory. My inability to remember names and faces was embarrassing — and costly. I had to apologize almost every time I met some one I had met before. I couldn’t re- , member what I had read in letters or books. My mind was like a sieve. I Yet today my memory is absolutely under my control. I can meet fifty people within ten minutes and call them 1 by name an hour later or at any time anywhere. I can i recall long lists of bank clearings, telephone numbers, \ facts, names, rates, in fact anything I care to remember. ! I can repeat entire passages out of a letter or a book I after reading it once. My mind is like a well ordered i filing cabinet — I just reach into it and draw forth what- j ever I have stored away. Instead of being a handicap, as it was formerly, my memory is now my greatest asset. The cold fact is that after my memory began to improve I got a new grip on I my business, and in six short months I increased my sales by $100,000, and that in war time, mind you, with i anything but a war bride. I But my reader is doubtless anxious to know how I ' improved my memory in one evening. It all came about through meeting David M. Roth, the famous I memory expert, at a luncheon of the Rotary Club in I New York, where he gave one of his remarkable mem- i Dry demonstrations. I can best describe it by quoting the Seattle Po^t Intelligence's account of a similar ex- hibition. When I met Mr. Roth again — which you may be sure i: I did the first chance I got — he rather bowled me over by saying, in his quiet, modest way: “There is nothing miraculous about my remembering j anything I want to remember, whether it be names, faces, figures, facts or something I have read in a I magazine. “You can do this as easily as I do. Anyone with an J average mind can learn quickly to do exactly the same things which seem so miraculous when I do them. I “My own memory,” continued Mr. Roth, “was origi- 1 nally very faulty. Yes, it was — a really poor memory. I On meeting a man I would lose his name in thirty seconds, while now there are probably 10,000 men and [ women in the United States, many of whom I have met I but once, whose names I can call instantly on meeting j them.” j “That is all right for you, Mr. Roth,” I interrupted, “you have given I years to it. But how about me?” “Mr. Jones,” he replied, “I can teach you the secret of a good memory in one evening. This is not a guess, because I have done it with thou- sands of pupils. In the first of seven simple lessons which I have pre- pared for home study, I show you the basic principle of my whole system and you will find it — not hard work as you might fear — but just like I playing a fascinating game. I will prove it to you.” I He didn’t have to prove it. His Course did ; I got it the very next J day from his publishers, the Independent Corporation. I When I tackled the first lesson, I suppose I was the most surprised I man in the forty-eight States to find that I had learned — in about one hour — how to remember a list of one hundred words so that I could call them off forward and back without a single mistake. That first lesson stuck. And so did the other six. The result was — and my cashier will vouch for this — I increased my sales by $100,000 in six months ! The reason stands out as brightly as a star bomb. Mr. Roth has given ‘ nie a firmer mental grasp of business tendencies and a better balanced ' (Three) judgment, a keener foresight and the ability to act swiftly and surely that I never possessed before. His lessons have taught me to see clearly ahead ; and how to visualize conditions in more exact perspective ; and how to remember the things I need to remember at the instant I need them most in business trans- actions. In consequence, I have been able to seize many golden opportunities that before would have slipped by and been out of reach by the time I woke up. You see the Roth Course has done vastly more for me than teaching me how to remember names and faces and telephone numbers. It has done more than make me a more interesting talker. It has done more than give me confidence on my feet. It has given me a greater power in all the conduct of my business. Mr. Roth’s course has endowed me with a new business perspective. It has made me a keener observer. It has given me a new sense of proportion and values. It has given me visualization — which after all is the true basis of business success. So confident are the publishers, the Independent Cor- poration, of the remarkable value of the Roth Memory Course to every reader of this magazine that they want you to test out this remarkable system in your own home before you decide to buy. The course must sell itself to you by actually increasing your memory before you obligate yourself to spend a penny. Don’t send a single penny. Merely fill out and mail the coupon. By return post, all charges prepaid, the complete Roth Memory Course will be sent to your home. Study it one evening — more if you like — then if you feel that you can afford not to keep this great aid to more dollars — to bigger responsibilities — to fullest success in life, mail it back to the publishers within five days and you will owe nothing. Good judgment is largely a matter of memory. It is easy to make the right decisions if you have all the re- lated facts outlined in your mind — clearly and exactly. Wrong decisions in business are made because the man who makes them forgets some vital fact or figure which, had he been able to summon clearly to mind, would have changed his viewpoint. A man’s experience in business is only as old as his memory. The measure of his ability is largely his power to remember at the right time. If you can remember — clearly and accurately — the solution of every important problem since you first took hold of your work, you can make all of your experience count. If, however, you have not a good memory and cannot recall instantly facts and figures that you learned years ago, you cannot make your experience count. If a better memory means only one-tenth as much to you as it has to me and to thousands of other business men and women, mail the coupon to-day — NOW — but don’t put it off and forget — as those who need the Course the very worst are apt to do. Send the coupon in or write a letter now before the low introductory price is withdrawn. Independent Corporation Publishers of The Independent Weekly Dept. R-57S, 119 West 40th St., New York City Please send me the Roth Memory Course of seven lessons. I will either remail the course to you within five days after its receipt or send you $5. Name Address * 1 P. O - ••••• State Motion Picture Classic-5-19 The Amazing Memory Feats of David M. Roth The Seattle Post Intelligencer said: "Of the 150 members of the Seattle Rotary Club at a luncheon yester- day, not one left with the slightest doubt that Mr, Roth could do all claimed for him. Rotarians at the meeting had to pinch themselves to see whether they were awake or not. "Mr. Roth started his exhibition by asking sixty of those present to introduce themselves by name to him. Then he waved them aside and in- structed a member at a blackboard to write down names of firms, sentences, and mottoes on numbered squares, meanwhile sitting with his back to the writer and only learning the positions by oral report. After this he was asked by different Rotarians to tell what was written down in various specific squares and gave the entire list without a mistake. "After finishing with this Mr. Roth singled out and called by name the sixty men to whom he had been in- troduced earlier, wlio in the mean- time had changed seats and had mixed with others present," I lLm«411)g41l)88Sj^tV8/Jt>W|«^ 240 ^ . Solid Gold Festoon, 1 4 fine Diamonds. I S40.CO ^ ^BB5SI!ws|ill|^ ^24.) Twin Ring, Z fine Di.^ jj^,^monds, $35.00^^^ Ladies’ B^her, 1 fine- Diamond, f;5S. 00 Tooth Ring, 1 fine Dia- mond, $60.00 1 fine Diamond, 4 Dia- monds in shank. I8K WhiteGold. $225.00 Red Cameo, 1 fine Dia- • •.'inond, $20.00 16 fine Diamonds^ . , • , S173.00 267 Clustei, lpiainonds,4,,;’< ' -^^centei^JI Engraved Belcher, 1 fine Syj'.jDiamond. $50.00 ' ^ 124:fi^ :■* SapphJr^ noooo * Movie Stars wear ’Sweet” Jewelry. Ruth Roland wearing 'Sweet” Pearls PEARLS .» ^ -i if V-/ n t / -it ^ s. ^ GRADUATED PEARLS $ I0.S5 GRADUATED PEARLS $ 12.0° GRADUATED PEARLS UNIFORM PEARLS UNIFORM PEARL! UNIFORM PEARLS $10.0? G - ^20. 00 TO THE WINNER OF THE MOTION PICTURE CLASSIC FAME AND FORTUNE CONTEST WE WILL PRESENT, WITH OUR COMPLIMENTS, A STRING OF “Q” “SWEET” PEARLS THE FREE EXACT DUPLICATE OF THE “SWEET PEARLS WORN BY RUTH ROLAND, AND ILLUSTRATED BELOW We would prefer, as a matter of record, that each entrant send her name and address to us, although this is not absolutely neces- sary, as the “Sweet” Pearls will be presented to the winner of the contest whether she sends us her name or not. If you would like a copy of our catalog, please so state when sending in your name. Those entering the contest and sending us their names should address L. W. Sweet & Co., Inc., 2-4 Maiden Lane, Contest Department, New York City. NOTE — Full details of contest will be found on page y. Buy Today — Ten Months to Pay “SWEET” DIAMONDS are highest quality, blue-white in color and perfect in cut. No matter what size or price diamond you select the quality is the same and guaranteed full value. 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SWEET & CO., Inc., 2-4 Maiden Lane, Dept. 499K, New York City (Four) Vol. Vlll MAY, 1919 No. 3 I THE II I June Classic | I The first Summer number of || I The Motion Picture Classic [f II is going to establish a brand new \l || standard for beauty and interest. i| I Among the live features will be : || II An interesting interview with |i If the Mary Miles Min- fi 1 1 ter and Margaret Shelby, illus- || i| trated by intimate new pictures. i| 11 A human talk with A'm/a [| ii art, now busily at work on the || If coast upon her new series of i| 1 1 photoplays. [| Alma Rubens will tell her plans |[ in a little chat which reveals a new [j angle upon the beautiful star. || Pretty Hazel Dawn has been in- |i terestingly interviewed. |i Another personality chat of de- i| cided interest is with Ernest |i Truex, just now dividing his time || between a Broadway stage play || and the studios. j| The whole country is — indeed || the whole world seems to be — en- H tered in The Fame and Fortune |i Contest. The June Classic will |i present the eighth honor roll of 1 1 the international contest. 11 The Cellidoid Critic, recognized If for his fearless comments upon f| the silverscreen, will discuss the |i current photoplays. 11 There will be interesting articles |i on the silent drama by Frederick i| James Smith, Kenneth Macgowan 11 and other authorities. || The fictionized photoplays, as f| usual, will be the best obtainable, ff Probably you have noted that The |[ Classic is obtaining the cream of 1 1 the world’s film production for i| short story presentation. If THE MOTION PICTURE CLASSIC 175 Duffield St. Brooklyn, N. Y. sumniniMiuiiiiiitiiniiinMiiiiiiiMiiiiiitiiiiiiiiiiiiiininiitsniitiiiiiiniiiiiitiiiiniiifiiiiiiiiiiiiiiiiiniiiiniiMniiiiiiiiiitiiiiiniiiM G O TViX EITNITT S Oi=' IV^O'T'T CDISI PiexuRE. Classic THE GIRL ON THE COVER {Cover painted by E. 0. Smith) _ Ruth Roland was born in San Francisco, her parents being stage players. She made her first stage appearance at the age of four and quickly became known thruout the Pacific coast as “Baby Ruth.” Miss Roland played in vaudeville and _ stock in the coast States and finally became a screen player under the direction of P. C. Hartigan at old Kalem. There she remained for several years, finally being secured by Pathe as a serial star. Gallery of Popular Players. Rotogravure studies of Mar- Page guerite De La Motte, Kitty Gordon, Alice Brady, Myrtle Lind and Catherine Calvert 11-15 The March of the Photoplay. The development of the scenario has created two schools of photoplaywriting Kenneth Macgowan 16 A Dreamer of Dreams. .An oddly exotic personality is that of Marcia Manon Frederick James Smith 18 Hard Luck Tearle. Handsome Conway is at heart a restless pessimist Haael Simpson Naylor 20 In Pursuit of Billie. Miss Burke is a very, very busy person, and catching her is no mean task C. Blythe Sherwood 22 War and Women. Captain Robert Warwick breezily dis- cusses battlefields and femininity Faith Service 24 The Endowed Photoplay. Vachel Lindsaj' talks upon the need of an uncommercial screen drama Charles Jameson 26 Saturday to Monday. Constance Talmadge’s piquant new comedy told in story form Dorothy Donnell 27 Living Down the Name of Percy. Such is the terrible task of Percy Marmont Faith Service 31 Farnum’s Fishing Foray. William Farnum’s vacation trip into the tropical Gulf of Mexico 32 Me by Myself. The amusing confessions of a real come- dienne written by herself Louise Faaenda 34 Earle and His Ambitions. The elusive honeymooner, Earle Williams, makes a few confessions Fritai Remont 36 A Woman There Was. Theda Bara's colorful new story narrated in story form Faith Service 38 A Daniels Come to Judgment. Little Bebe Daniels is going in for the serious drama very soon Fritsi Remont 42 Richman, Poorman, Beggarman — They’re all Frank Losee, who is a character actor of many parts C. Blythe Sherwood 44 The Celluloid Critic. The newest photoplays in review. Frederick James Smith 45 In the Broadway Theaters. Interesting moments from the successful New York stage plays 46 The Extra Girl Invades Another Courtroom. The new Florence Reed picture in the filming Ethel Rosemon 48 Sugar and Spice and Everything Nice. Mollie King, who divides her time between the stage, the cabarets and the theater Sue Roberts 50 The Newest Beauties of the Fame and Fortune Contest 52 Enter — The Baby Vampire. Olive Thomas’ newest role 54 The Stronger Vow. A picturesque short story based on Geraldine Farrar’s newest photoplay Olive Carew 55 Gossip of the Pacific Coast Fritzi Remont 60 Double Exposures. Humorous comments upon the screen plaj^s and players Conducted by F. J. S. 62 The Movie Encyclopedia The Answer Man 84 Published monthly at /75 Duffield Street, Brooklyn, N. Y. Subscription, $2.00 a year, in advance, ineluding postage in the U. S., Cuba, Mexico, and Philippines; in Canada, $2.30 a year; in foreign countries, $3.00. Single copies, 20 cents, postage prepaid. One-cent stamps accepted. Subscribers must notify us at once of any change of address, giving both old and new address. Entered at the Brooklyn, N. Y.. Post Office as Second-class Matter. Copyright, 1919, by the M. P. Publishing Co., in the United States and Great Britain, a New York corporation, with its principal offices at Bayshore, N. Y. Eugene V. Brewster, President; J. Stuart Blackton, Vice-President ; Guy L. Harrington, Vice-President ; E. M. Heineman, Secretary ; Eleanor V. V. Brewster, Treasurer. STAFF FOR THE CLASSIC: Eugene V. Brewster, Managing Editor; Frederick James Smith, Eiterary Editor Dorothy Donnell, Robert J. Shores, Edwin M. La Roche, Fritzi Remont Associate Editors Guy L. Harrington Business Manager Duncan A. Dobie, Jr Advertising Manager Archer A. King Western Manager Metz B. Hayes New England Manager MOTION PICTURE CLASSIC 175 Duffield St., Brooklyn, N, Y. This magazine comes out on the 15th of every month. Its elder sister, the Motion Picture Magazine, comes out on the first of every month. Both are on sale at all newsstands in the English-speaking world. (Five) Waniedt Ideas for Photoplayg $100 to $1,000 Being Paid for Clever Scenario Ideas — How the Palmer Plan Helps New Writers to Turn Their Movie Ideas into Money "Give us NEW photoplay ideas — fresh, grip- ping plots — movie stories with new ‘twists’ and ‘angles’ to them! Give us movie stories that will move and thrill a photoplay-weary public. But, above all, give us something that we can usel’’ This is the frantic cry of motion picture pro- ducers. Never was there a more alarming short- age of good, photoplay plots! That’s why $100 to $1000 is being paid for good, original movie ideas. It makes little difference who you are or where you are I If you have a photo- play plot with a new appeal in it — we can help you make the most of it. For, our Advisory Service Bureau — under the ^ personal direction of Frederick Palmer, one of the . best known screen authors in America — will take your movie plot just as it is — show you what is good about it and what is weak — tell you how to ' rebuild it, if necessary ; in short — you will learn how ! to develop your movie ideas to best i advantage. And, mind you, this is only one of the unusual features ■■ you get in the Palmer Plan of Photoplay Writing. Just to show you how our Ad- visory Service operates, we might cite the experience of Rodney Hyn- j son of Pasadena, Cal. Mr. Hynson tried and tried to dispose of his \ stories to motion picture companies ; each time he fail^. He had almost given up hope of ever winning rec- ognition when he enrolled with us. In less than two months we handed i Mr. Hynson a check for $500 for his i first successful photoplay synopsis, "Prince Toby,” which you will shortly see on the Artcraft program. Then — there’s Mrs. Kate Corbaley — another of our members, who has averaged more than $150 monthly during the past year through the sale of photoplay plots. Mrs. Cor- baley is the mother of four small children and did all of her writing during her spare time. And here’s still another Instance: Vernon Hoagland, now a high-sal- ] aried studio writer for one of the largest film producing companies, owes his entire success to the Palmer Plan. Not only did this Institution train him in the art of scenario writing, but he secured his present position upon our recommendation. These are only a few typical instances — but they are enough to show the tremendous oppor- tunities brought home to you by the Palmer Plan of Photoplay Writing. Remember — it is the only method of photoplay training that helps you all the way through — from primary instruction on to Per- sonal Advisory Service and then on to Marketing Service. Get our FREE booklet Mail the Coupon NOW Today — send for your copy of our new Illus- trated booklet — “The Secret of Successful Pho- toplay Writing.” Explains the Palmer Plan in detail — tells about our iron-clad money-back Guar- antee— shows the benefits of our Personal Advisory Service and Manuscript Sales Department — shows how you, too, can learn to turn your "movie” ideas into money. Send for your copy today — it’s FREE. Mail the coupon NOW! ’pALMEr''pHOTOPLAY CORPORATION ' 745 1. W. Heilman Bldg., Los Angeles, Cal. 1 Pleasesendme, withoutobligation, your new booklet, • "The Secretof Successful Photoplay Writing.” Also, I Special Supplement containing autographed letters I from the leading producers, stars, directors, etc. I Name j St. and No RODNET HYNSON VERNON HOAGLAND Stage Plays That Are Worth While j (Readers in distant towns will do well to preserve this list for reference when thes spoken plays appear in their vicinity.) Astor. — Fay Bainter in “East Is West.” The story of a quaint little Chinese maid who falls in love with a young American and, just when racial barriers seem insurmountable, turns out to be the daughter of a white missionary. Has all the ingredients of popular drama. Miss Bainter is picturesquely pleasing. Bijou. — “A Sleepless Night.” Another farce written with the idea that nothing funny ever happens outside a bedroom. The usual in and out of bed piquancy, being the tale of a guileless young woman who decides to be un- conventional and pink-pajamaed at any cost. Ernest Glendinning and William Morris ad- mirable. Peggy Hopkins is the lady in ques- tion. Cohan & Harris. — “Three Faces East.” An- other Secret Service-German spy drama, this by Anthony Paul Kelly, one of our most successful photoplaywrights. The principal charm of this play is in trying to guess who are the German spies and who are the Allies, just as we were puzzled in “Cheating Cheaters” to know who were the burglars and who were not. Cohan’s. — “A Prince There Was.” George M. Cohan in an interesting role of a very entertaining comedy. He plays at a literary game in which hearts are trumps — and wins. Forty-Fourth Street. — A1 Jolson in the per- ennial “Sinbad.” Typical Winter Garden show with lots of girls in Hooverized attire. With Jolson are the entertaining Farber sisters and the danceful Kitty Doner. 48th Street. — “The Net.” An unusually good drama, well played. Montagu Love is now appearing in this melodrama. Henry Miller. — “Mis’ Nelly of N’ Orleans.” Mrs. Fiske in a new comedy of moonshine, madness and make-believe, in which she again proves herself to be one of the greatest of comediennes. Excellent cast, notably Irene Haisman, who seems to have picture possi- bilities. Hippodrome. — The newest production, “Everything,” lives up to its title. It is a maze of varied attractions, ranging from dainty Belle Storey to scores of remarkable roller skaters and a stage full of tumbling Arabs. Knickerbocker. — “Listen, Lester.” Lively, dancy show with considerable humor, thanks to clever Johnny Dooley. Excellent aid is given by Gertrude Vanderbilt, Clifton Webb, Ada Lewis, Ada Mae Weeks and Eddie Garvie. Lyceum. — “Daddies.” Appealing little drama of three bachelors who adopt Belgian war babies. Amusing complications occur when the children develop along unexpected lines. Jeanne Eagels is quaintly pleasing in the lead- ing role. Lyric. — “The Unknown Purple.” Interesting and well sustained thriller. The story of a convict who discovers a way to make himself invisible, transforming into a purple ray, and who starts out to get revenge. The invisible man steals necklaces, opens safes and passes thru doors. Richard Bennett gives a vigorous performance of the human ray. Morosco. — “Cappy Ricks.” A capital com- edy with Tom A. Wise in a capital role which he plays capitally with a capital C. The com- pany might be better and handsome William Courtenay more sincere, but for a’ that the play is good. Playhouse. — “Forever After.” Alice Brady in a play of youthful love which endures despite many obstacles. Excellently acted thruout. It charms its audience into living once again the violent joys and heart-aches of youth. Plymouth. — “Redemption.” John Barrymore at his best in a remarkable piece of acting and a remarkable Tolstoi play. Punch and Judy. — Remarkably interesting season of Stuart Walker’s Portmanteau com- pany at this intimate little theater. The season is largely devoted to the glittering and vivid playlets of Lord Dunsany. Admirable acting and finely artistic staging. Shubert. — -“Good-Morning, Judge.” Light musical show adapted — remotely — from Sir Arthur Wing Pinero’s “The Magistrate. J Built around the farcical efforts of a magi;B trate to escape a raid on a lively cafe, thr ; being arraigned in his own court. The d i luxe doll, Mollie King, is featured, and he > brother, Charlie King, and George Harre ' contribute excellent first aid. Vanderbilt. — “A Little Journey.” The con- ical experiences of a dozen or more interest e ing travelers on a Pullman which is finall i wrecked. Excellent cast. ON THE ROAD. “The Riddle: Woman,” with Bertha Kalicl , Problem drama from the Danish. Ladies wit I “pasts,” a he-vampire and much emotionalisn ; Kalich gives a picturesque if artificial pei formance, while Chrystal Herne and A. I I Anson make the most of their roles. ' “The Marquis de Priola.” Leo Ditrichstei i in the best play he has done since “The Grea Loyer,” and in a somewhat similar part. Hi acting is splendid. While it is too bad to mak the conquering of women the theme for play, and a hero out of such a perfidious rej robate as the marquis, the play is so fine tU : we forgive its naughtiness for its art. “The Climax.” A comedy with incident: music. Excellent, entertaining story of young opera singer who loses her voice — an heart. Eleanor Painter is convincing. “Roads of Destiny.” Channing Pollock ha ' devised an old drama from the O. Henr ; story. No matter what path one takes, th ultimate result is the same, is the philosoph - of the drama. Florence Reed is admirable i I three widely contrasted roles. “The Betrothal,” Maurice Maeterlinck’s se . quel to “The Blue Bird.” Superb productio , of a drama rife with poetic symbolism an imaginative insight. Remarkably beautiful se i ries of stage pictures. Excellent cast, wit Reginald Sheffield as Tyltyl. “The Saving Grace.” Delightful Englis' -i comedy by Haddon Chambers, brilliantl : played by Cyril Maude as a cashiered Britis I army officer trying to get back in the big wa: | Laura Hope Crews admirable. “Under Orders,” another war drama, and 1 good one, altho only two actors are necessar ; to tell the story. Effie Shannon is excellen j Plenty of weeps, with a sprinkle of mirth. I “Home Again.” A highly entertaining con edy with lots of homey atmosphere and ole fashioned rural characters, founded on th : poems and stories of J. Whitcomb Riley. Th cast is extremely strong from top to bottoi 1 and the story is engrossing. “Be Calm, Cajnilla.” One of the mo; charming plays of the season. Lola Fishe makes a hit in a part of the Mary Pickfor type and will doubtless be heard from on th j screen. “Head Over Heels,” with the saucy Mit; as a delectable little vaudeville acrobat. Er tertaining with tuneful Jerome Kern musi 1 and the highly amusing Robert Emme' j Keane. “Kieep Her Smiling.” A typical Mr. an ) Mrs. Sidney Drew comedy. Mr. Drew doe 1 the cleverest bit of acting of his career, an Mrs. Drew is more charming and “younger j than ever before. “Old Lady 31.” Rachael Cruthers’ success a ful and human comedy of an old couple wh ' find themselves face to face with the aim; ■ house. Effie Ellsler in Emma Dunn’s role remainder of cast is the original New Yor company. LEADING PICTURE THEATERS. Loew’s-N. Y. and Loew’s American Roof.- Photoplays ; first runs. Daily program. Loew’s Metropolitan, Brooklyn. — Featur photoplays and vaudeville. Rivoli — De Luxe photoplays, with full sym 1 phony orchestra. Weekly program. ' Rialto. — Photoplays supreme. Prograr changes every week. ' Strand. — Select first-run photoplays. Pre gram changes every week. ( Six) j Across the Footlights JUST now interest in the theater world is centered in the effect prohibition will have upon the stage. The gen- > eral opinion of producers seems to be S that the theater will profit greatly by the coming dry era, altho the cabaret form of entertainment seems destined to suffer. I “I am not a prohibitionist — in fact, I am against prohibition,” says Marc j Klaw, of Klaw and Erlanger, “but I be- ' lieve that prohibition will help the thea- f ter. Of course, it may injure the cabaret I performances, but the theater proper will i be helped.” David Belasco is even more [ enthusiastic. “Prohibition’s influence upon the theater will be tremendous and, ; in my opinion, will work a vast deal of f good for players and managers alike. I The box-office will be certain to reflect li the changed conditions, for its coffers j will benefit enormously by the dollars I once spent for drink.” Daniel Frohman f points out that the motion picture indus- 'I try has already eliminated thousands of ;; saloons in this country. “The theater is always the supreme resort as the source I of pleasure, recreation and entertain- i ment,” he says, “and it will be further j benefited by the prohibition mandate. 1 The added prosperity to these places of amusement, which I feel will accrue to I it, will enable managers to develop the I resources of the theater in providing ' wholesome and intelligent amusement to , the limit.” Lee Shubert speaks in similar j vein. “The theater,” he says, “will bene- fit greatly by the existence of prohibition. Already the cinema has shown how it can affect the public that is accustomed ' to pay for the cheaper priced places in the theaters. I expect to see prohibition, by keeping the public out of expensive I restaurants and cabarets, do the same for i| the first-class theaters that the cinema has already done by attracting the men from the saloons.” The remaining hope of the metropoli- tan cabarets seems to lie in the revival of the dance craze. Since the coming of the armistice the dance has been return- ing to popularity with a bang. The Cas- cades at the Biltmore, the ballrooms at the Astor, the grill of the Waldorf- Astoria and the other smart dance cen- ters have witnessed a marked increase in the popularity of terpsichore. Will the ' end of Bacchus silence the jazz? That remains to be seen. I Altho Lent has, of course, affected the I theater, the season’s business of the met- ropolitan spoken stage has broken all ; records. “East is West,” with Fay Bain- ter, at the Astor Theater, for instance, has jumped into one of the year’s finan- cial hits. And such productions as I *'Tea for Three” at the Maxine Elliott, , “Friendly Enemies” at the Hudson, “Up * in Mabel’s Room” at the Eltinge, “Dear I Brutus” at the Empire, “Tiger, Tiger” at I the Belasco, “Lightnin’ ” at the Gaiety, and “The Better ’Ole” at the Cort go I right on to record business. J (Seven) Hello, Chief: “Haven’t found the firebug yet, have you? You will know who he is only when I am dead and the fires stop. I don’t suppose you even realize that the fire- bug talks to you almost every day about catching the firebug? That’s me. They never caught me in Chicago or anywhere else, so you might as well quit looking for me and take your medicine.” The Firebug' That was the warning which cai^ e to the fire chief, unsigned — and then, the very next day, a woman was found nearly dead in a burning building. It was a mystery that needed the master mind of Craig Kennedy, the scientific de- tective of this day — Craig Kennedy, who came to life in the mind of ARTHUR B. REEVE The American Conan Doyle CRAIG KENNEDY The American Sherlock Holmes He is the genius of our age. He has taken science — science that stands for this age — and allied it to the mystery and romance of detective fiction. Even to the smallest detail, every bit of the plot is worked out scientifically. For nearly ten years America has been watching his Craig Kennedy — marvelling at the strange, new, startling things that de- tective-hero would un- fold. Even under the stress of war England is reading him as she never did before. Such plots — such suspense — ^with real, vivid people moving through the maelstrom of life! Frenchmen have mastered the art of terror stories. English writers have thrilled whole nations by their artful heroes. Russian in- genuity has fashioned wild tales of mystery. But all these seem old - fashioned — out of date — beside the infinite variety — the weird excitement of Arthur B. Reeve’s tales, in 12 volumes — over 250 stories. Col. Roosevelt said; “I did a whole lot of reading. I particularly enjoyed half a dozen rattling: good detective stories by Arthur B. Reeve — some of them were corkers.” FREE! To those who send the coupon promptly, we will give FREE a set of Edgar Allan Poe’s Masterpieces in 10 volumes— over 200 stories. When the police of New York failed to solve one of the most fear- ful murder mys- teries of the time, Edgar Allan Poe — far off there in Paris — found the solution. 10 Volumes A The story is in these volumes. He was a de tective by instinct — he was a story-teller by divine inspiration. Before or since — no one has had ' j his power to make your hair stand on end — to ^ send chills up your back — to hold you in / ' suspense — terror, O horror I To read / | breathlessly — to try to guess the ending — y m.p.c. i to enjoy the perfect, flawless style — to . sfis ' feel the power of the master — that is ' BrShe* I all you can do in each and all of Poe’s / squa^'^N'^ v" I undying stories. In England and / 0. . . | France, Edgar Allan Poe is held to / rae. all I be the greatestwriter that America . set^^^THms.' ■ has produced— to them he is / I the greatest American classic. / absolutely free the 1 rp, . . , .. . / set of Edgar Allan Poe, ‘ inis IS a wonderful com- ' m 10 volumes, if both 1 bination-here are two of / ' the greatest writers of / 5'°“' expense. : mystery and scientinc * $1 at once and $2 a month I detective stories. You / f”"" months, can get the Reeve at / I a remarkably low price , • and the Poe Free. / I Name HARPER & BROTHERS " j Established 1817 NEW YORK CITY Z. DRAWINGS WANTED By Magazines, Newspapers, Advertisers A good picture can tell a story better than i,ooo wordsi Pub- lishers and advertisers realize this fact, and they are clamoring for artists and offering big prices for pictures. Readers of maga- zines and newspapers demand that they contain plenty of illus- trations, and publishers must supply that demand. There is a crying need all over the country for artists and their work. BE AN ARTIST Learn at home in your spare time how to become a good artist. Illus- trators, Cartoonists. Commercial Art- ists make big money. You can earn $25 to $100 a week and more. Learn under personal direction of Will H. Chandlee, famous newspaper, maga- zine, advertising artist of 30 years* successful experience. BOOK and ARTIST’S OUTFIT FREE Complete outfit free to new students. Write for handsome, new book, “How to Become an Artist.’* Tells what course includes, shows many drawings made by Director Chandlee and many students. Describes our new method Home Study Course. Write for our free art book and special offer NOW. Mail postal before you turn this page. Address Washington School of Art, Inc., 1145 H Street, N. W., Washin^on, D. C. ^IMUaDiinglMCiiiUM.UiBLUM I JM.I JK \M IJ^ 'Crainlng jor /Tuthorsliip HoW to Write, Whdtto Write, and WKere to sell. CulHVal^e your mind. Dev’elop youiddemry gifts. Mast’d* tKe art of self‘-<2?Cpression.Makc your spare Hmc profitable. Turn youv ideas into dollars. Courses in Short-Story Writ* ing. Versification, Journalism^ Play -VVriting, Photoplay _ , Writing, etc., taught person* Dr.Esen-Wein ally by Dr. J. Berg Esenwein,' for many years editor of Lippincott’s Magazine, and a staff of literary experts.’ Constructive criticism; Frank, honest, helpful advice. Real teaching* One pupil has received over $5,000 for stories and articles written mostly in spare time— “play work," he calls it Another, pupil received over $1,000 before completing her first course. Another, a busy wife and mother, is averaging over . $75 , week from photoplay writing alone. There is no otoer institution or agency doing so much for writers, young or old. The^universities recognize this, for over one hundred members of the English faculties of higher institutions are studying in our Literary Department. The editors recognize it, for they are constantly recommending our courses. We publish The Writer’s Library. We also publish The} Writer’s Monthly, especially valuable for its full reports of, the literary market. Besides our teaching service, we offer manuscript criticism service. d seepage Jllustrated*iataIogue free ,PUaMt 0M ■ (ainting AND SKETCHING The Long Island School of Art offers excellent training to amateoirs and art students. Our system of individual instruction eliminates the time-worn academic training so unnecessary in landscape paint- ing. Pupils are instructed in a technique mc^t suited to tljeir temperament and ability, a system which will assure success, an all year season allows the students to begin their course at any time. Our city studios are always open to our pupils for criticism, and students wishing to stay at our L. I. studios for the summer, will find excellent boarding near-by. Frequent social affairs will bring them in personal contact with many of our most famous artists. Address NG island school of AR.T 75-177 Duffield St. Brooklyn. N. Y. jVrite the Words For a Song Write the words for a song. We revise )ng-poems, compose music for them, and uarantee to secure publication _ on a jyalty basis by a New York music pub- sher. Our Lyric Editor and Chief Com- oser is a song-writer of national reputa- jon and has written many big song-hits, jlail your song-poem on love, peace, vic- bry or any other subject to us today, oems submitted are examined free. I! BROADWAY COMPOSING STUDIOS jr-F Fitzgerald Bldg., Broadway at Times Square, NEW YORK Ul t TOUR SCNG-POEHS ON ANY SUBJECT' FOR OUR fti'ME POEMS. COMPOSE MUSIC OF ANY 0E5CRIP-J|r^..^^ Oikciil^ COPYRIGHT AND EMPLOY ORIGINAL CONTAINS nlDS fOR FACILJTATSNS FrE& INSTRUC- idiOR OUTRIGHT SALE OF TO BEBKKERS «i8 TELLS ml THIS AE ibjih concesnikg evert branch JkINS SUABANTEE^w^ aiv'^F THIS ESSENTIAL « TASCINAriNG PROFESS ■ OlSFAC-^^ftT *1 \3^ ran. THE GREAT WORK ACCOMPLISKEO BY THE POP iJA^llLAR m IN WINNING OLE WAR 15 ONLY AN INDEX TO WE HUOl gJil JiA^WiOER SCOPE ANO GREATER OPPORTUNITIES AFfOROED BY PEACE.' KNICKERBOCKER STUDIOS, 75 GAiETYBioa? NYCity bries Wanted for Publication FREE EXAMINATION i, e opportunity for beginners Booklet on request IE YORK LITERARY BUREAU, 143 W 36 Street, New York City iThe William G. [: Hewitt Press I Established 1894 \Frinters of the i Motion Picture Magazine I Motion Picture Classic j: Each in itself art preservative in the |. Motion Picture Industry. Other high- [ class magazines and general printing I efficiently handled [i Artistic Booklets and Art Hangers i' for the Motion Picture Star ex- ecuted with the same distinction to the reader as your character on the screen Your autobiography in booklet form will help your cause illllltlltItllMIDIIIIIIIIIIIIIIIIIIItMIIUIIIIMIIIIIIIlnillt 0 Tom!” DO you remember when Tom Sawyer went swimming and had everything hidden so carefully, so that Aunt Polly couldn’t find out ? — Aunt Polly had sewed up his shirt that morning. But Tom had carefully re-sewed it, so he thought he was safe. But alack and alas, he used black instead of white. Once more you will laugh with Tom Sawyer and Huck Finn — but you will want to cry as you laugh. For behind the joy of youth is the reality of life— the philosophy you did not see when you were a boy. MARK TWAIN Novels Humor 25 VOLUMES Essays Travel Boys* Stories History Drop Us a Line || Navy S t r e e t ll Brooklyn, New York II While he lived, we loved him. He made us laugh, so that we had not time to see that his style was sublime, that he was biblical in simplicity, that he was to America another Lincoln in spirit. The Great American He was American. He had the idealism of America — the humor, the kindliness, the reaching toward a bigger thing, the simplicity. In this work we find all things from the ridiculous in “Huckleberry Finn” to the sublime of “Joan of Arc” — the most spiritual book that was ever written in the English language, of serene and lovely beauty, as lofty as Joan herself. A man who could write two such books as “Huckleberry Finn” and “Joan of Arc” was sublime in power. His youth and his laughter are eternal ; his genius will never die. Low Price Sale Must Stop Mark Twain knew what hard times meant — and he wanted everyone in America to own a set of his books. So one of the last things he asked was that we make a set at so low a price that everyone might own it. He said, “Don’t make fine editions. Don’t make editions to sell for $200 and $300 and $1,000. Make good books, books good to look at and easy to read, and make their price low.” So we have made this set. And up to now we have been able to sell it at this low price. But you must act at once. You must sign and / m. p. c. mail the coupon now. If you want a set at a popular price, do not delay. This edition will / brothers soon be withdrawn, and then you will pay considerably more for your Mark Twain. / There will never again be a set of Mark woilts, in 25 volumes, illus- Twain at the present price. Now is . y trimmed edges. If not satisfactory. VOUr OPDOrtunity to save money. I win return them at your expense. i-r j / otherwise I will send you $2 wlth- Now not tomorrow is tne time in S days, and $2 a month for 15 to get your Mark Twain. / Name.. hailthe coupon- Send NO rioney ^ ^ Occupation To get the red half-leather binding, change terms to $1.50 within 5 days and $4.00 a month for 12 months. Oiii-nnnn Hininii ni-snnnn ng'.Tinnn nrs-innnr ns'K-finoD nB^'innnn Ini- nnnn in«’«nnnn: n ins:i--nnnn' (Nine) 7 he piquant charm of a clear, soft skin. Read below how by proper care you can have this greatest of all attractions. The right treatment for skin blemishes Nature intended your skin to he flawless Is YOUR skin fine, soft, attractive? If not, find out just why it is marred by blemishes; then start immediately to gain the natural • beauty, the clear, radiant skin that can be yours. Skin specialists are tracing fewer and fewer troubles to the blood. They say more often, skin blemishes can be traced to the bacteria and parasites that are carried into the pores of the skin with dust, soot and grime. To clear your skin of blemishes caused by this insidious and persistent enemy, use regularly the following special treatment : To remove skin blemishes Just before retiring, wash in your usual way with warm water and Woodbury’s Facial Soap; then dry your face. Now dip the tips cf your fingers in warm water and rub Blackheads are a con- fession that you are using the wrong method of cleans- ing for your type of skin. A special treatment for this trouble is found in the booklet wrapped around every cake cf Woodbury’ s Facial Soap, them on the cake of Woodbury’s until they are covered with a heavy, cream-like lather. Cover each blemish with a thick coat of this soap cream and leave it on for ten minutes. Rinse very carefully with clear, hot water, then with cold. In addition to this special treatment, use Woodbury’s regularly in your daily toilet. This will make your skin so firm and active that it will resist the frequent cause of blemishes. Before long your complexion will take on a new clearness and freshness. Get a cake of Woodbury’s Facial Soap today and begin tonight thetreatmentyourskinneeds. Wood- bury’s is on sale at drug stores and toilet goods counters throughout the United States and Canada. A 25-cent cake will last a month or six weeks. Sample cake of soap ■with booklet of famous treatments and samples of Woodbury’s Facial Powder, Facial Cream and Cold Cream for 15 cents For 6 cents we will send you a trial size cake (enough for a week or ten days of any Woodbury Facial treatment) together with the book- let of treatments, “A Skin You Love to Touch”. Or for 15 cents, we will send you the treatment booklet and samplesof Woodbury ’s Facial Soap, Facial Powder, Fac Cream and Cold Cream. Addr The Andrew Jergens Co., ■ 5 Spring Grove Ave., Cincinna Ohio. If you live in Canada, address 1 Andrew Jergens Co., Limited,-^ Sherbrooke Street, Perth, Ontarii (Ten) eg ” ^ofioQ T)\(z\u re C f a/!/’ i c ° mem MARGUERITE DE LA MOTTE Miss De La Motte has been coming to the front recently in Douglas Fairbanks productions. She was the Lena of “Arizona.” She has just completed work in “In Wrong,” with Jack Pickford, and has returned to the Fairbanks forces. f Miss Gordon was famed on the English musical stage as a beauty before she first dazzled New York in “He Came from Milwaukee’’ with Sam Bernard. She soon became a star in her own name in “The Enchantress” and other productions. Then World Film won her to the screen. Now she’s one of the Ihiited stars. ALICE BRADY l.ight opera, drama and the photoplay have been the successive steps in Miss Brady’s career. This season she has been dividing her time between the stage hit, “Forever After,” and the Select studios. Now she announces that she is leaving Select soon, perhaps to make pictures abroad. li i! \ ( 1 1 MYRTLE LIND Myrtle Lind ran away from home to join the movies. Statistics do not state where said home was located. Anyway, she was ;| going to dramatic school I when the screen idea seized | her. Now she’s one of the *1 most famous of Mack Sennett’s beauties. Thus Art is served, after all. I S 5 r A' lERINE CALVERT ]M;s Calvert is perhaps esrcnown for her play- ig;i ‘‘The Deep Purple,” A lomance of the Un- ei orld” and other raas written by her us nd, the late Paul rr,:trong. Frank Keeney •oner to the screen and ie las just been doing Fi s of Fate,” the Sal- at m Army-Paramount :a''re. if ! i ■[ . t ■1 ,1 Ten years ago we began the exper- iment of transferring gray mat- ter to celluloid. In a short decade we have worked out the intricate and miraculous task of taking a man’s mental conceptions of other beings, sorting them out on paper by rudely developed rules of plot or by much more potent intuitions, representing them in the .shape of human actors, photographing those representations of thoughts, and then sorting them out all over again in the film ed- itor’s laboratory, all in order that they may finally find their way back into the human mind again as mental conceptions of human beings. Ten years we have had for the working out of a new story-telling art. Five years, if we go by the date when five-reel feature pictures first began to be made. In that time the photoplay has gone as far as other arts have gone in a hundred years. From Homer to Euripides, 1000 B. c. to 450 B. c., is no further in . technical development than from an early Broncho Billy melodrama to “Branding Broad- way.’’ Part of it has been the progress of mecha- nisms — cameras, lighting, laboratory. Such progress has been equaled in other mechanical fields, in the development of the automobile, for instance. The March of the Photoplay I'ppcr left, Jeaiiie MacPhersoi center, Monte M. Katterjoh' and, fcc/oK'.Marion Fairfax. “Tj years ago we began the expei ment of transferring gray matti to celluloid,” says Mr. Mai gowan. “In that time the photi play has gone as far as othi arts have gone in a hundn years. From Homer to Eiirip des is no further in technical d velopment than from Broncl Billy to ‘BrandiiiK Broadway Hut it is in the vital thing, tire thing of the animating spirit, th( .si)ark of life, the idea, the .story, and the means by which it is recas in celluloid, that the surpassing ju'ogress has been made. The floo( (jf cheaj) re-is.sues of FlaiT are i)roof enough of how far the story' teller has gone in ten years. Take “Man to Man,’’ with Rhe:| Mitchell. 1 have been unable to locate its birth certificate, and it ma; well be that this curious two-reeler is not more than five or six year old. Hut, whatever its age, it demonstrated how tremendously fa we have gone. The story isn’t at all bad in itself. It contains plenty of materia and suggestions for one of tho.se well-nigh perfect yarns that Har and Ince gi\e us today. It brings a New England maiden out Wes to take charge of her dead uncle’s property and drops her into : dance-hall. Thereafter come the conversion of Hart to love am better ways, a conflict with : concupiscent gambler and j game of poker in whic' Hart wins the girl by out cheating a cheat. As the men of the earl days put the story togethei the incidents drop out c the camera with no mor cumulative excitement tha ( Sixteen) By KENNETH MACGOWAN hewing-guin out of a penny-in-the-slot ma- liine. There is nothing of what makes jcreen art today — no human detail, no bits of i tmosi)here, no conflicts of emotion in the jiouls of the people, no possibilities of unhap- iiness, no suspense and not a shred of un- lerstanding. “Man to Man’’ contrasts all the more viv- idly with the photoplay of today because in bcale and action it is so decidedly of the particular school which has pushed the art if screen story-telling farthest — the Ince- iullivan alliance. Griffith remains the mas- er of the movies, and his own school of ihotoplay writing is vital and perhaps more nportant because of its natural humanity ; ut the group that worked with Thomas H. [nee and C. Gardner Sullivan at Culver City bore than a year ago have done more to reate a distinct and exclusive method of tory-telling. The photoplays to which Sul- van and Katterjohn and Hawks have put beir names — “The Crab,” “Hell’s Hingfes,” “The Bride of Hate.” “The Flame of the Yukon,” “The Paws of the Bear,” “Carmen of the Klondike,” “Shell ‘43,’ ” “The Phantom,” for example — all bear a close fapiily resem- blance. The ones I name were made when all three were work- ing in the Ince studio, and they all show the same character- istic method of handling. The action is pared down to the bone and then fleshed with exact and appropriate details. The film is started easily and naturally with the introduction of a character or two and an emotion and a place, which gradually begin to accumulate action — and interest — about them. There is no awkward “Now I’m going to tell you a story” start. There is no moralizing. Life just begins to live before you. As you go forward with the story, the effect is of a taut and clean-cut structure designed to achieve the strongest possible dramatic effect. Descriptive subtitles are keyed to the emotion of the story. They are never allowed to seem like necessary explanations of an inept continuity man. Lacking the usual verb, saying “Filled with indecision” instead of “John is filled with indecision,” {Continued on page 71) Above, Anita Loos, and, left, C. Gardner Sullivan. “The Sullivan dramatur- gy is not unlike the Ib- sen dramaturgy in its definite, tight structure,” declares Mr. Maegowan, “while John Emerson and Anita Loos are products of the Hauptmann vein of naturalness” ( Seventeen ) © Witzel. L. A. A Dreamer of Dreams By FREDERICK JAMES SMITH Thkre was an odd exotic leisure in the way Marcia Manon’s slender hand stole across the restaurant table and gracefully selected a bonbon — a picturesque atmosphere of sunny, warm lands in the way she indolently lifted the bit of candy to her lips. The sound of jazz music from the hotel orchestra and the hurried chatter of nearby voices clashed. Marcia Manon, with all her exotic flavor, is not the Broadway exotic. She frankly admits her dislike of the city’s madness. “I love to be awakened by the sunshine and the birds rather than the hotel clerk at the telephone. And the noise, and the rush, and the would-be Bohemianism, and the satisfied old women who live in New York hotels, they all disrupt my thoughts. Still, I am getting used to the noise. Now, at least, I sleep nights.” Miss Manon came on from the coast, let us hasten to explain, in order to play in “The Malefactor” with Jack Barrymore. This visit was her first to New York, at least the first she remembers. “I was here once be- fore, when I was two months old. My mother was Italian, my father Russian Marcia Manojii real child of t Itli ater. She was ■ ly born in the ii Royal in ParisiH mother was 'j|lis her father Above is a St y Miss Manon nj Elliott Dext “Old Wive f( New” and, ( tl opposite pa , study of hP “Stella Ms I’ far He was lus cal direcf t the Pjai Royal in kri Indeed, actually b n i the Palais Dya for my mthe had chancj^'i visit the tht^r- and the eve Joe curred. So I truth a child theater. ^ “My parents broujitni to America, but, hzi heaven !, they kept sunny California. Ou I grew up. I longed for on the opera stage. I studi aa studied. Every cent I could toward developing my voice. “I reached nineteen, and still my idea away. I decided to try doing extras ( Eighti ) f Abbe You Get Just What You Dream About, Is Marcia Manon’s Philosophy the role, but couldn’t get her, and they tried player after player in the part. “I wa,s given a chance, altho Miss Pickford quite frankly did not believe I could do it. They tried me for three days, studying the bits of nega- tive in the darkroom at night. Then they decided to keep me. The only other chance I have had was the de luxe comforter in ‘Old Wives for New.’ Really, I cant see why I am being interviewed. I haven’t accomplished anything yet.” Miss Manon smiled — a tired, far-away sort of smile. She selected another bonbon, leisurely, with a minimum of physical effort. ‘‘I believe you get just what you dream about,” she went on. ‘‘Nothing more and nothing less. I am not a fatalist. I have worked too hard. You must work to succeed; work hard, un- waveringly. The successful are those who can disregard pain— who are strong enough to do that and go on. The real people have sacrificed and suffered to be where they are. (Continued on page 6.S) lovie studios in order to eep up my oice culture. S u t I have lever been able |o do anything /ithout doing t whole-heart- ;dly and sin- 'erely. ‘ ‘‘I always came to the studio the ^ery first in the morning. I still do t, indeed. I worked hard, waited ong hours, and kept at it. Finally, ^ got a chance as an Apache girl in The Victory of Conscience,’ with i^ou-Tellegen. There was a scene vhere Mr. Tellegen laid his hand jpon my head for a second. I burst nto tears. The drama touched me, [ was tired, and the tears came. “They incorporated that into the scene. They had noticed me. That light William De Mille tried me in I role in ‘Anton the Terrible.’ Up :o that time I had hated and feared Vlr. De Mille, but I have since come :o genuinely worship him. “Those two bits started me. Finally got a sympathetic little role with jeorge Beban in ‘One More Ameri- can.’ I like that best of anything .’ve done. Finally I had my chance n ‘Stella Maris’ with Mary Pick- ord. They wanted Mary Alden for succeed; work- hard, unwavering- ly. The success- ful are those who can disregard pain — who are strong enough to do that and go on. The real people have sacrificed and suf- fered to be what they are" { Sineteen) Above, Robert Leonard directing Norma Tal- madge and Conway Tearle and, left, a scene from “Nancy Lee.” Con- way is a persistent pessi- mist. The Tearle ego is undeveloped. He is sure no one likes him. He is positive he has the least luck in the world. He even doubts his own braininess. He is one of those restless individuals who, no matter what they accomplish, never quite reach the goal of their ambition It isn’t true. No one ever pays any attention to me.” Tearle has romantically melan- choly eyebrows. They glower gloomily over his deep-set eyesj But there is a certain whimsical up- turn to his mouth which belies his] depression. He maintains that] everything he has ever obtained has] been thru sheer hard work. His modesty is real. He believesl his own statements and, all prooi to the contrary, you couldn’t make! him believe differently. He says] where another actor has made a hit] in a very short time without any]* (Tweni ■) The world considers Conway Tearle one of the most popu- lar matinee idols of the present-day stage or screen. Mr. Tearle thoroly believes he isn’t a matinee idol, never was one, and never wants to be. “To be a matinee idol,” says Mr. Tearle, “all that is neces- sary is a knack of wearing clothes, the money to go to a first- class tailor, a pretty face and the ability to clutch the girl gracefully in the last few moments of the third act. “I never was a pretty man. I dont want to play namby- pamby heroes. I want to play men with a dash of deviltry in them, like ordinary human beings. I want to play men that have problems to meet, who perhaps make mistakes but profit by them, and who, out of the heat of their hells, forge them- selves into successes. But save me from the callow hero who never did anything wrong in his life. Such men exist only in the movies and on the stage.” Conway Tearle tries to be a persistent pessimist. Seldoih have I met a person of the stage so thoroly lacking in conceit. The Tearle ego is undeveloped. He is sure no one likes him. He is positive he has the least luck of any actor. He verily believes that he has nothing to say that will interest the world. He even doubts his own braininess. He is one of those rest- less individuals who, no matter how much they accomplish, never quite reach the goal of their ambition. And he absolutely fails to realize that this very lack of self- satisfaction, which is the death-knell of so many popular actors, is the surest sign in the world that he will not stand still, but will continue to advance. He fails to realize that as he goes on, his ambition grows in proportion, so that he thinks he never accomplishes it. To those who look no farther than today it may seem a curse to be perpetually dissatisfied, but to those gifted with an insight into the art of creation it is com- mon knowledge that contentment or a fatty self-satisfaction spell the end of achievement. The stage is Conway Tearle’s natural inheritance. His father was Ormsby Tearle, one of the most famous English Hard Luck Tearle : actors of his day . . . his mother, an American actress, Min- j nie Conway, with a theatrical lineage which stretched back to 1712. Conway was born in America, but was taken to England r when he was eight years old. There he received his education i at Winchester. In spite of the fact that his ancestors had mapped out his ' ■ destiny, the stage, he studied law and even took up profes- i sional boxing as a means of livelihood. “Imagine me even attempting to be anything but an actor,” says Tearle. “Why, it just couldn’t be done, and so I finally ;j succumbed to the call of the blood and took up my proper i i profession.” Among his first plays were “The Geisha” and “Ben Hur.” After six years of consistently good acting in London, Tearle sought America, where he made a decided hit with Grace George. The records of that time show that he was the most sought after actor in America. Again his ver- sion of the.stoi-y differs. “Dont,” he almost pleads, “say any one ran after me or that I got mash notes. 1 carle at an infor- mal between -the- scenes luncheon. “With all due respect to picture direc- tors,” says Mr. Tearle, “they want to talk, think, walk, do everything for you. You are nothing but an automaton that carries out their ideas” ‘I like playing on the stage be- cause I have most of my after- noons off, can play golf, get out in the country in the machine — live. In the studio I work all clay— and get into a dress-suit the next morn- ing at 8 A. M. “You ask what I’d do if I were bound to an office ? Routine work? Dear lady, it couldn’t be done.” Conway Tearle admires women that have brains, and yet he says that he is afraid of those that' have. “They’re always obtruding themselves and making a man feel insignificant — and a man doesn’t like to feel insignificant. I know I haven’t an overly large supply of brains, but I dont want any one to make me feel this all the time.” Mr. Tearle has one failing. He just cant remember to keep an appointment to save his soul. He cannot be bound. He is as irresponsible as a gold-fish. He hates to have people make a fuss over him — particularly women — and yet he says he would like pictures better could he think that the picture public liked him. One of his greatest charms is his voice and his perfect English. He is a finished diplomat, tactful, as are all innately ^vell-bred people. He will always be a seeker, a hunter for that elusive hap- piness, that self-satisfaction which is just beyond, whose gos- samer wings teasingly brush his eyelids and pass on. He is a romantic figure, a gallant, a genius, with all of a genius’ moodiness. He is one of the most popular actors on the screen today — and he doesn’t know it. “and I think I always shall. On the screen I am simply de- picting some one else’s thoughts ; on the stage I can put my own interpretation across. With all due respect to picture directors, they want to talk, think, walk, do everything for you. You are nothing but the automaton that carries out their ideas. You wait three weeks for your big scene, and then — woof ! — you discover it is nothing. “Of course, I think the ideal way would be to direct myself. Be a director ? Heaven forbid ! I mean I would like to plan out my own work like Chaplin does. For instance, I would have given anything to have played ‘The Silver King.’ My father starred in the original stage production. It was one of his greatest hits. It does seem as if the screen part might have been mine, but you see, no luck, no luck at all. “Everybody asks me what screen star I like best, and I always answer, diplomatically, the one I am playing with at that time. As a matter of truth, I think Norma Talmadge is the fairest, squares! star of them all. She is willing to go fifty-fifty every time, to give a fellow a chance. “That girl has real brains. I dont see why some one doesn’t star her on the stage. I think she would be a tremendous suc- cess. She can really act. 1=' [II By HAZEL SIMPSON NAYLOR tj effort, his didn’t come without the most excruciatingly hard work. This was as Rene in “The Hawk.” He was I not called upon, to take the part until three days before I the play was to open in New York. At the time he had li walking typhoid, but did I not know it. Tie was I obliged to rehearse his part for three days I: and three nights, with the result that he scored a big hit, but he very seriously un- dermined his health. “I like the stage better than pictures,” says IMr. Tearle, (Twenty-one) Scott Shinn Little Florence Patricia, two years old, is Billie’s Land of Promise. “I love her so,” says Miss Burke. “I love them all so. Baby, mother, the home, the chickens and dear, kind Flo. Why, I can hardly realize that Pve been married five years. Five ! They’ve been five wonders.” On this page are pictures taken on the Hastings- on-Hudson estate In Pursuit of Bil 1 By C. BLYTHE SHERWOOD: Monday (at the home of Mrs. Florer Ziegfelcl, Jr., at Hastings-on-Hudson)-i “It is too bad. She has just left. Ye madam rises extremely early, as she attends 1 the marketing for the little baby berself ever morning before going to the studio.” Tuesday (at the Famous Players- Lasky sti dio, N. Y. C.) — "Miss Burke cannot see ar one. She has to double work on three scent here and then leave immediately for the four! .set at Fort Lee.” i Wednesday (at the office of Flo Ziegfeld, Jr — “Billie has run over to the Knickerbockt Hotel to lunch some wounded soldiers.” j Wednesday (the same — at the hotel)— “Mi ' Burke has hurried the boys out for an auto rici before taking them to see a matinee.” i Thursday (at the photographer’s) — “Yc; have missed Mrs. Ziegfeld by a hair’s breadtlj She ru.shed away with the baby to keep an aj| pointment with the physi- cian.” Friday (3 p. M. at Madame Leclaire’s) — “My poor sweet Billie wont be able to get here this afternoon. Such a rushing ! She’s changed her hour for six o’clock . . . oh, if you intend to wait, take another seat et mettez- vous a voire aise, ma’m’selle.” Such was my campaign to capture Billie. But I couldn’t have found a more inviting place in which to wait three long hours. It was delightful, this salon, with its brocaded hangings, silken cushions, softly dimmed lamps and gilded furniture f Twenty-two) |Miss Burke Is ' ’Very, Very Busy of the quaintest foreign style. ’ On the walls were pastel miniatures, in jl the corner a I' , Louis XVI desk, across were trellised mir- rors, and against clocks, vases, books and c andlesticks were photos — hundreds of them, all auto- graphed. They were from one celebrity after another, but the maj ority of them “From Bil- lie Burke.” “See? Ees that not a dar- ling?” asked madame, indi- cating a picture of Miss Burke with garlands in her long, thick, plaited hair. “That was Bil- lee’s debut on the stage about nine years ago in England. Bil- lee was so mag- nifique that, altho at the time she was study- ing music (she, too, had a charming voice), George Edwards insist- ed on having her in his Christmas pantomime. Then here she ees in ’Three Little Maids,’ that bright suc- cess, with Edna iMay. (c) Alfred riu'iH'.v .Tolmstnn “Charles Frohman was impressed with her acting with Charles Hawtrey in ‘Mr. George.’ He engaged her to return to America with him to play opposite John Drew in ‘My Wife.’ See? She ees here . . . her hair she now wears on top of her head, but she ees still the girl ! She had been in America but one year when she was made a star in ‘Love Watches.’ There . . . ees that not a wonderful picture? After that I remember she played in ‘The Runaway’ with Ernest Lawford, ‘Mrs. Dot’ and in ‘The Mind-the-Paint Girl.’ Here are the pajamas I made for her that are now known all over as Billie- burkes ! Shelley Hull was with her in that play, and also in ‘The Land of Promise’ and ‘Jerry.’ Billee ees simply heart- broken over his death. He was so young and fine. “Last year Billee played with Henry Miller in the piece by M. Dumas, ‘A Marriage of Convenience.’ I theenk she loved “You have no idea how a woman grows, spiritually and mentally and in every way,’’ says Miss Burke, “when she has some one whom she can give her love and her thoughts.” Above is a study of Miss Burke in “A Marriage of Convenience” that the best of all her parts ! The sMins, the picturesque- ness, the daintiness all ap- pealed to her nicety of ex- pression.” Madame left me to get ready the outfit “for Billee.” Over two hours, and the time did not drag. There is noth- ing more diverting or enchanting than to view a growing array of exquisite garments. “Here eet ees . . . such a state of wildness ! In two days she goes away . . . and all these costumes must go with her. Look ! Ees this not a sweet ■’” And she held high for scrutiny a smart sports blouse {Continued on page 76) one : (Twenty-three) WarandWomei By FAITH SERVICE ' “You’ll have to come back in a year or so, then,” said the captain, ordering intri- cate hors-d’ oeuvres in a casual way. “I expect to have one round about that time.” “Why a year?” “I need perspective. I have none now. None whatsoever. I believe that it will take some time for most of the boys who have been over to get a real perspective on the thing, an honest realization. Of course, I can only speak for myself with any authority. Perhaps the whole thing was too big for me — or perhaps I was too small for i it and it’s dwarfed me, but I know that I simply cannot realize the thing. I feel ex- actly as tho I had never been over. As if the trip, all of it, were something that has never happened, something I might have dreamed very vaguely.” He paused a mo- ment, then said, wistfully, “Perhaps, tho, if I had had the good fortune to have a wound stripe or so I might have felt it all the more.” “You mean you wish you had been wounded, I take it?” The captain looked at me with com- miseration. “Do I ?” he exploded. “Gosh, every time I see one of the boys with an arm or a leg gone, my heart sinks into my boots. Pm ashamed of my arm where the wound chevrons ought to be. I wish the Boche had played tick-tack-toe all over my face with his cunning bayonet. There’s just one afflic- tion I am glad I es- caped ” “And that?” “Loss of my eyes. Pd hate not to be able to see a pretty woman.” This were easier to imagine of the gay Lo- thario who, a few years back, charmed New York singing “Oh, You Dear, Delightful Women” in “The Balkan Princess,” who later made prob- lematical love to Frances Starr and, still later, stormed his way to a capture on the screen. “You had rather a dif- cult role — over there, didn’t you?” T asked. “I was on General Pershing:’s staff, you know,” the captain said ; “Intelligence Department. It was interesting in a way, tho not dangerous . . . not very many thrills. It was my job to keep the general supplied with information, to go on important and private missions, and all that. ' Once, a few months back, I came over here. I met Foch and iC (Twenty-four) , 9 Apeda. N. Y. “There’s one aihiction I am glad I escaped on the battlefield,” says Capt. Warwick. “That is loss of my eyes ... I’d hate not to be able to see a pretty woman. I love all the women. The French girls! Ah! And the German women . . . Never let anyone tell you that they are dull, stolid, uninteresting” riTULARLY speaking, one might ex- pect of the following some sort of treatise, a ponderous tome, a species )f grave and very learned pamphleteer- ng, or, at best, a conglomerate mass of jo-called propaganda anent women and something or other, or war and some- ihing or other else, or both. This is the dear, delightful instance where a title is misleading, which, we are told, a title should never, nev-er be. Get- ting down to cases, this has to do with women, likewise with war, but it is not the- thin sugar-coating of the semi-ethical, semi-medical brief. It is an impressionistic account of the viewpoint of one well ijualified to speak. It is first-hand information. It is by a captain and an authority on both subjects, delicate and indelicate. It is gleanings over a luncheon-table at the Plaza, where Captain “Bob” Warwick played host and interviewee. Speaking thus glibly of a point of view regarding the war. Captain Warwick disclaimed having one. “No point of view on the war?” I queried, never having heard of such a subnormal condition. “No.” The captain shook his head and laughed. “That seems strange to you?” “Strange?” I yapped, echoingly. “Oh, very, I should say!’ I added : “That’s what I’m here for— your militaristic point of view.’ 3b Warwick Dis- isses Battlefields and Femininity Ciemenceau and most of the great French generals and officials. They are tremendous. Foch is a veritable superman.” The hors-d’ oeuvres had given successive way to ices and black coffee. I veered. “Perhaps if you haven’t quite got your perspective of war,” I suggested, “women . . .” He laughed. When he laughs he laughs mostly with his eyes, which are brown and have a twinkle in their depths, a wicked : little twinkle. Paradoxi- cally, one is reminded of a small boy. Thus, no doubt, the charm which ; has made “Bob” Warwick a menace to the chances I of other less gifted mem- bers of his own sex. j “Women !’’ he said. : “Why, I’ve always had a perspective on women. It is that they are invariably, individually and collec- ‘ tively charming.” “But after the war?” “What then? They have been magnificent, of course. That did not sur- prise me as it seems to have surprised almost everybody. It was to be expected. It has not de- tracted from their charm — on the contrary. I love , all the women. The French girls . . . ah! And the German women . . . never let anybody tell you that they are dull, ! stolid, uninteresting . . . it is not so.” He seemed about to go iii'to a sort of cosmopoli- tan reverie, speaking fem- inistically, when I recalled him with a figurative dash of cold water. “Marriage ?” I asked. “Do you still believe in it {Continued on page 66) ‘Marriage is a failure be- cause, afterwards, women i dont flirt enough,” philoso- I phizes Warwick, “and, there- fore, men dont try enough. Men have one instinct which is stronger than all others . . . the hunting instinct. You I take the average married man I —he knows he doesn’t have to I hunt any more . . . He feels j cheated, defrauded” I J (Twenty-five) © Alfred Cheney Johnston “'"p’HE future of the motion J[ picture lies in the endowed photoplay,” declares Vachel Lindsay, who always sees the screen from an oddly interesting viewpoint. Lindsay is the colorful Illinois poet who has made a singu- larly deep and searching study of motion pictures. In other words, he is a poetic fan. Some time ago he wrote a volume on “The Art of the Moving Picture.” In the interim he has been writ- ing poetry and seeing more pic- tures. The results of his new ideas he embodied in a lecture given at Columbia University in New York City recently. And the cornei*- stone of his address was a plea for the endowed photoplay. The fact that Mr. Lindsay was invited to address the Institute of Arts and Sciences of Columbia University on the photodramatic art deserves more than passing comment. The screen is advancing ! Mr. Lindsay’s comments were vigor- ous, as one might expect. He began by declaring that he, with others, had once considered the director as the most im- portant factor in the making of photo- plays, but that he had, with those others, reached the conclusion that “the real hero of the moving picture would be the scenario writer.” “It is the scenario writer,” he said, “who must supply the material out of which artistic photoplays are to be built,” and he urged that the author’s rights be pro- claimed “in season and out until they dominate the field.” “The photoplay is good so far as it follows the The Endowed Photoplay By CHARLES JAMESON scenario and bad so far as the director takes liberties with the scenario,” said Mr. Lindsay. The poet believes a “new alphabet that will be more universal than music and cut deeper into society than any other” will be created when the scenario writer fully learns how to “compose in motion.” But the scenario writer and the scenario writer alone will be master of this new alphabet. Center, Vachel Lind- say, the poet-critic. The cartoons of the conventional screen villain, hero and shero (in a state of col- lapse), are by Hen- drick William Van Loon. It is against these conventional movie folks that Mr. Lindsay protests nator so that it will appeal to: “all of the: 100,000,-: 000 people in Ameri-: ca.” Mr. Lind-i say doesi not wholly Mr. Linasay believes that the scenario writer has no chance in the commercial field. Scenarios with fresh ideas, upon being submitted to commercial pro- ducers, are put thru a script factory, re- ducing everything to a common denomi- blame the producer. The necessity of appeal-i ing to every one is apparent frorr' the commercial .standpoint. In-; deed, the present system, he believes! has certain good points. For in-‘ stance, the average of photopla}! production balances favorably witl the average of other producer: I trying to reach the whole 100,000, ! 000 at once. Specifically, Mrj Lindsay said that the “total prod net of magazines is not a bit bette'" than the total product of motioii' pictures.” But, with this mechanical digestion o all incoming scripts, the scenario writefl ■TTTTTT of originality is lost. And unless nev ideas come to the screen, how is the pho' toplay to advance? Mr. Lindsay has his own answer. The endowed motion picture. It would be costly and risky, of course Mr. Lindsay admits that. But “le some repentant motion picture milj lionaire do it,” he remarks, hu morously, and specifically pre poses that a hundred or mof centers of art and educatiof; — as universities, societie etc. — unite behind the projec {Continued on page 77), (Twenty-six) s excitement. “The sly thing!” Lucy Delaney chirped. “Here we’ve mailed suffrage circulars together all the morning — won- derful circulars, so convincing! SUSANNK,” said Mrs. Ercoll, stirring her tea with the air of one doing it a great favor, “says that .she will ;ver marry again.” “In my experience that remark usually •ecedes the announcement of an en- igement,” Mrs. McVey id sagely. She helped ;r.self to sugar ith a prodigal- i' that would ve turned r. Hoover lie and set- id herself ;sily. “No Oman iio does jit expect _ ;t mar- e d ever jys so.” “There en't any tmen who int expect be mar id !” The hos- 5S shi»ugged her pink negligeed shoulders. “Lemon, dear? !o? But one would think that after her first impossible ex- rience! I happen to know that she was on the eve of vorcing Carter when, fortunately, he did the tactful thing dying. Of course, I never advisei any one, but I should link that she would stick to .suffrage. Or perhaps raise ikinese dogs, or go in for a soul, or something that she uld get rid of more easily than a husband.” She was a large woman, with a round, pink face, who af- tted a babyish air of helplessness and fussy, dabby clothing, er architecture was mid-Victorian, her ideas depended upon lat she had been reading last, i“I had rather a notion that Foxcroft Grey would be the ne.xt ndidate for the vacant position,” Mrs. McVey purred. “He ;ms so attentive. That was positively a bale of roses I saw the hall just now. Of course, he’s hopelessly old-fashioned an anti- too, I believe.” “He has a beautiful nose,” sanne's mother sighed. “Car- was not ornamental, tho if • is in heaven now — which I ubt — he may be improved. • dont recollect ever having tin a picture of a bald-headed >?el. But Foxcroft hasn’t t ghost of a chance with tsanne !” rustle of taffeta ruffles in doorway preceded a tall, >|?ht young woman into the '';'m. She was waving a news- and was surrounded )per ^-h an almost visible aura of < (Twenty-neven) “SATURDAY TO MONDAY” Fictionized from the scenario l^y Alice Eyton from Wil- liam Hurlbiit’s comedy, based on Jessie Leach Rector's story. Produced by Select Pictures. Directed by^ Robert Vignola. Starring Constance Talmadge. The cast: Susanne Ercoll Constance Talmadge Foxcroft Grey Harrison Ford Charlie Hamilton : Walter Hier Dot Harrington Vera Sisson Mrs. Ercoll Edythe Chapman Arthur Barnard Raymond Hatton Airs. Entvvhistle Alavm Kelso of the English cause, said — but no matter! Susanne never hinted such a thing to me. But isn’t it ro- mantic !” Mrs. Er- coll pos- s e s s e d h e r s e 1 f of the paper, read the notice therein with resignation, and r e - turned to her tea. “Dear me, Lucy, you are so impulsive,” she murmured. “It’s merely the announcement of Susanne’s engagement to Foxcroft Grey.” She selected a bit of French pastry and passed the silver basket to her friend. “My dear, you must be sure to come. A week from today. I dont know why they delay it so long — a great many things can happen in a week.” The butler added another to the company about the samo- var by ushering in Arthur Barnard, the new tenant, who had just leased Mrs. Ercoll’s bungalow at the foot of the lawn, a young man of terrible seriou.sness, whose chief characteristics were a feeble mustache, a large Adam’s apple and a mission to enlighten the world by a series of problem plays upon which he w'as laboring. “I have brought you, dear lady,” he bowed over his land- lady’s pudgy hand, “a gift more wondrous than pearls and fine gold ! I have brought you a precious thought, a little fledgling brain child of my own.” It developed that he had discovered that those unmar- ried were more truly married than if they were married, while the bonds of matrimony were far from liberty bonds, and the realization of the ideal was the true aim of existence, Or at least that is what hi^^ auditors got from his explana- tion. He spoke in beautiful, gummy, soothing s y ; j j i phrases, ate a great many lit'E frosted cakes without seeminc MOTION PICTURE ( In the little apartment, where Stisanne hustled ahout like an energetic conscious of them, and held his 0^25:1 audience enthralled until inter- (lisiies were seasoned rupted by the breezy entrance of with kisses Foxcroft Grey. “My dear boy,’’ cooed Mrs. Er- coll. “come here and be kist imme- diately, and tell me what you mean by running away with my little girl.’’ , • j i ‘‘The privilege of kissing you,’’ Foxcroft explained, gal- lantly, “was my chief reason for wishing to marry Susanne. As soon as I saw you, two years ago, Mrs. Ercoll. I said to myself, ‘If that woman has a daughter, I am going to marry her,’ and last night, aided and abetted by the moon, I got her promise.” “The newspapers ” began Mrs. iMcV’^ey. Foxcroft nodded with an air of modest satisfaction. “I ’phoned ’em the good news as soon as the offices were open this morning so that Susanne wmuld find her bridges hard to burn,” he explained. “And I’ve given a month s notice to my a]iartment house.” “You live at the Bachelor Hall, dont you, Mr. Grey."” Mrs. Mc\'ey w^anted to know, with roguishly wagging forefinger. “The only house in the city where women aren’t admitted. Come, now ; tell me truly, aren’t there ever? 1 know there must be! Oh, naughty, naughty! I'ut, tut — h-m !’’ .A.rthur blushed chastely. He s])oke loudly of women, dissected them on jiaper, and fled from them in the flesh, unless they were on the safe side of fifty. He had a dee])- seated belief that they were one and all bent upon marrying him. Su.sanne in particular terrified him. Hearing her runabout .stop now on the drive outside he rose to make his escape, .but before it could be con- summated Susanne was in the room. There was an air about Susanne Sinclair, nee Frcoll, as breezy and sunny as an April morning. She was the sort of woman whom others of her sex “never can see anything in,” which, of course, means that she was as pretty as the proverbial picture, lithe, moon- blonde, with the short upper-lip that made Helen of Troy a decidedly dangerous and unsettling young ])erson. . , t- r Her eyes narrowed slightly as they discovered roxcroft Grey’s well-featured face among those turned to greet her, but she tossed her hat aside and advanced to the tea-table, strip- ling off her gloves with perfect self-possession. “I’ve been interviewing Lady Bugglesthwaite, the English suffraget that tied herself to the hitching-post in front of Lloyd George’s house,” .she explained. “She’s a wonderful woman — been in jail twenty- four times. She w'as hoping to make it twenty-five even, but the women unfortunately got the vote before she could. It’s an inspiration to talk with her. However”— she helped herself liberally to sandwiches— “I dont believe in hunger strikes.” Arthur Barnard interrupted, his pale, intellectual face suf-j fused with embarrassment. “You will excuse me. Miss Susanne, but I — really, I must be going. My play must not suffer from my wanderings in pleasant fields. I feel that I owe a debt to society.” _ v He did not mention the debts he also owed to his tailor and. his butcher. Coincident with his departure, Mrs. MeVey andi, Lucy took their leave, and Susanne beheld with alarm her mother’s preparations to follow suit. ^ “Why,” she demanded of Foxcroft, as Mrs. Ercoll’s pmk-^ upholstered figure disappeared between the curtains, "why? should people flee from an engaged couple as if they had the plague ? And who said we were engaged anyway ? i “You did,” Foxcroft assured her, “darling.” Susanne pointed toward the windows, thru which the sum was streaming in. “Last night I had a little too much moon, and it went to my head. You ought to know that a woman never means anything she doesn t say at eleven o clock in ihG morning, with the sun in her eyes. You had no business mak-" ing me think I wanted to marry you.” , ■ , ^ “You made me think you did.” He led her to a chair be-j fore the long French mirror. “Sit here, dearest, so that I car see two of you !” • j i “If a man had any sense of honor,” Susanne said, severely^, “he'd behave before marriage the way he is going to after j ward.” “That,” said Foxcroft, ‘‘is an odd conception of what is honor- able ! How'ever, the main thing to be settled this morning is where we are going to live after we are mar- ried. And I think— it’s only a sug- gestion— that we could talk rather Arthur thought nothin) ' of baring his soul t(t sympathetic ladies; h* was not appalled b; naked emotions, but h ’ was acutely conscioul of his pajamas (Twenty-eight) ;lassic , etter if you were to come over here onto this ottoman beside le, so, and put your head down on my shoulder so, and I were r D kiss you so and so and so!” ; “Marriage,” Susanne mourned, without re- i loving her pale gold fluff of hair from Fox- ' roft’s neck, “is the mask civilization has s istened across slavery ! When two people I ecome one, that one is the man, never (,ie woman. A wife hasn’t the "reedom of her servant girl ” [ “I’ll give you a day off, occa- sionally,” suggested her lover, fievery other Thursday, say.” “No !” Susanne sat up sudden- r, and her eyes began to shine. [’ll tell you ! We’ll make it a Sat- rday to Monday marriage !” She lapped her hands, as one who has jiscovered the solution to the un- olvable. “We’ll meet for dinner ^ery Friday and be married until londay morning, when we’ll each b our way in absolute freedom, Wnswerable to each other for our :tions until the next Friday. We fill not try to see each other or 'uestion each other as to how we lend the week days, but over the 1 eek ends we will” — she blushed i )sily — “we will keep house and [jiiarrel and talk about the high I rice of things and find fault with ijich other’s clothes just like real carried people ! Well?” I Foxcroft Grey was not called be of the cleverest young law- i:rs in the New York bar for , pthing. There is more than one ay of winning a case. “It ;ems to me,” he smiled, with :rfect good humor, “that you ive hit upon a very brilliant .an. If you like. I’ll draw up 1 iron-clad contract to that .feet, and we’ll both sign it. , nd in that case no doubt I can !:ep my apartment. McCauley, the janitor, is a hard-hearted . d Scot, but we’ll show him the wedding certificate and he’ll '■obably make an exception to his ‘no ladies’ rule.” “A wife is no lady,” McCauley ruled, when, a week later, a ‘xicab deposited Mr. and Mrs. Foxcroft Grey in the Bache- ,r’s hallway with the gentle patter of rice, “but then, a hus- ijind is no bachelor, either. I dunno, I dunno.” j Foxcroft’s argument was of the old reliable type. Mc- vauley pocketed it with a dour grin. “You’i'e exempt, Mrs. krey,” he told her, “but a word of warning to ye, I draw the k;ie at nursing bottles an’ perambulators!” t|The first matrimonial week-end was a grand success, despite e fact that Susanne’s knowledge of cookery was limited to 1/0 kinds of Welsh rarebit, fudge and stuffed eggs, while jcixcroft’s culinary contributions were the mixing of Bronx ijicktails and the toasting of frankfurters. In the little apart- rent Susanna bustled about like an energetic sunbeam. The . jOrched and oddly concocted dishes were seasoned with jsses. The small figure in the fluffy silk and chiffon negligee jtting across the bi'eakfast-table from him atoned to Fox- ioft for the obvious fact that the toast was smoked, the coffee [tter and the eggs exceedingly hard. Susanne assumed the role of matron like an ambitious ■tress studying a new part. When she went in for a new d she flung herself into it with all her heart; now she took 1) matrimony as she had taken up barefoot dancing, Bahaism iid the Woman’s Movement. When she stood on Monday orning pinning her very smart little hat with the cocky wing ‘Op her curly hair, she congratulated herself that her experi- (Twenty-nine) ment had proved a grand success. “Now to be happy tho married!” she mux-mured aloud, with a ti'i- umphant smile. “We are revolu- tionists. We will show the world that marriage need not be a degrad- ing slavery, wiping out individual- ism— darn this miri-or ! It wasn’t made to hold women’s hats, that’s certain — we will abolish boredom, nagging, jealousy ” She paused. In the room beyond, the telephone was ringing shrilly, and Foxcroft was answering. “Hello ! Yes, this is Ml-. Grey’s apartment— who is this? Oh, yes.” Was it fancy, or did his tone change, gi-ow conscious? “You — what? Well— er — I’m engaged this moment, but in half an hour — certainly. I’ll be delighted. I’d suggest the fire escape. Mc- Cauley is such a crab. Very well, expect you then. G’by!” Susanne jabbed the hatpin viciously thru her blonde coils. It was none of her business, of course, but— not that she cared —that was certainly a queer message for a man to get on his honeymoon ! “What was I saying?” she said, fretfully, to the exceedingly pretty but rather blank face in the mirror. “Oh. ves we will abolish jealousy ” > J' » Another girl and the fire escape ! Three days married and already telephoning to other women ! Well, it was lucky she Susanne ran to him and fell down upon her knees, dimly conscious in the back of her mind that she had seen this done on the stage in a like situation MOTION PICTURE CL didn’t care. She’d show him two could play at that game. She’d “Well, sweetheart?’’ Foxcroft had come softly up behind her, and the mirror for a moment looked like the June cover of a popular magazine. “How do you like marriage ?” Susanne laughed lightly to cover the scorched feeling in her heart. “Week-end marriage,” she corrected, “perfeci freedom of the individual, remember. No questions asked.” Foxcroft smiled. “Of course. We’re under contract, aren’t we? See you next Friday — Ritz, eh?Pahnroom at six-thirty. Good-by till then, darling.” proof to woman’s tears. He squirmed, but he listened, in^ of, as his better nature prompted him, fleeing the place ii'nt diately. _ , “Somehow,” Susanne went on, with despairing tone, m; husband has conceived an unreasonable jealousy of me. VL received an anonymous letter hinting that I was not tr him, and, acting upon it, he is coming, tonight, here!” The playwright’s mental agonies were pitiable. Hisba eyes, the color of commercial bluing, seemed in dang It was two nights later when Arthur Barnard, w r e s 1 1 i n g with esoteric gles, looked up from his mamiscri[)t to Inid what ap- peared at the flrst glance to be an angel, 'in exceeding- ly up-to-date and w e 1 1 - dressed angel with a cob- web of moon- beams in her hair, standing in the door- way of his sitting-room. His frantic dutching of lis dressing- ^own about his pink pa- jamaed chest was purely re- flex. Arthur thought noth- ing of baring his soul to sympathetic ladies, he was was not ap- palled by naked emo- tions, but he was acutely conscious of his pajamas. “Arthur Barnard,” the vision said, in a tremulous tone, and advanced into the room, to his horror, “Arthur, I am in great trouble. You must listen to me, you must help me. Oh, oh” — tinning to advance — “it is terrible, terrible !” “My dear Miss Sus— that is, Mrs. Grey,” Arthur stammered, recoiling, “you must not come here. Sup- pose some one should see you ! They might misconstrue oh, please, please go away !’’ Ignoring his frantic wail, Susanne flung herself upon her knees by his chair and captured one hand. Her wrap of satin and fur slipped back from her shoulders like creamy milk; her eyes, of tire blue of violets dewed with grief, looked up into his. Not being a husband, Arthur Barnard was not watei- leaving igi s o c k i: 3; “But here ?’’[h)4 moaned, why havek come? E[ dear, t: things dont pen in life, i in plays.” “He is cci here,” Sus- explained, s’ “because he isji ous of you, and t: he will find me here. \i I came to warn you ip must not be found la;.^ Arthur staggered t t feet, knees chatterin' li castanets. “You — he*I He clutched at the a She looked up at him! with a beautiful blush,' “I’ve decided not to be aj week-end wife any long-| , er, but an all-the-time; 4 wife so long as we botlil 1 shall live” , ■ “You must be mii^a about the letter. VtJ should any one wri at accusation of me? kjl^ is blameless. I never ri anything stronger |.k ginger ale, do not s swear, go to bed at past nine — cold sh every morning ko hig His voice trailed gurgle. Watching Susan felt the pri doubt. After all, p' she should have < some other man any one be jealous ( thur? Still, the leth been a masterpiece, felt certain that Fo would come, and th( and’ place, if not theiei were certainly uno ' tional. He should si she, too, could have h( affairs on the side. The sound of footsteps on the walk ( brought her to her feet, clutching at the pink flanni nearest her. “It’s he!” sne whispered, and for the fir. fear swept her. What if Foxcroft thought ve .She cast a frantic glance about the room, saw a dO' ran for it, to be halted by Arthur’s almost inarticulate p)te) “No, no, not there — that’s the bedroom, the bedroom — {Continued on page 67) i Living Down the Name of Percy By FAITH SERVICE commercial. Very un-Percyfied. The walls of the office were plastered with posters of “The Invisible Foe” and one or two portraits of theatric luminaries. Mr. Marmont was depicted, chiefly with hands, groping for God knows what. There were deep leathern chairs about. From one of these emerged, pleasantly, rather lengthily, Mr. Marmont. He is extremely lengthy. One of the tallest. He is also extremely fair. Fair hair, fair skin, fair eyes. There seemed to me to be something sort of Robert- Louis- Stevensonian in the attenuated length of his figure, his small, rather narrow head, his slender, nervous, interesting hands. Fie has ex- tremely interesting hands. There is a flavor about the man. A difference. One does not know just wherein the difference lies, but knows that it is there. There is, one feels, a gentleness, a sort of a whimsical general comprehension, a great good humor. Withal something boyish. Som.ething eager, {Continued on page 72) You may think such a feat is not possible. There are some han- dicaps, you may say, which are just, dontcher- know, a trifle bexond . . . Percy, you pursue, is one of them . . . ICe thought so, too. IVe thought : “Percy ! Deah, deah ! He will he a chawming chap- pie, oah, chawming!” Our mental processes evolved the sweetest pic- tures . . . pink teas . . . pink spats . . . a rosie-buddie in the button- hole . . . By the law of logic and by right ^ of name alone we should have com- mitted the interview in some dim tea- room to the tune of French pastries and cocoa. But, it seems, neither - logic nor names go to the making of the man. . We interviewed Percy Marmont in the thoroly efficient and wholly masculine office of Thomas J. Dixon. It was about five o’clock in the af- ternoon. Below us roared and seethed, a mon- strous shifting coil, the traffic of Times Square. It was grow- ing dusk. The intri- cate electric ads 'were flagellating the skies. It was all very T’crc>- AJarnioiit and ,s.‘limpse.s of liini rid- ing on the African Aeldt, tramping thru the snows of the English lake district and naA'igating a steam-launch off the Scotch coast f Thirty-one) The Yuma passing out into the gulf from Miami, Florida Above, Breakfast before harpoon exercise and, belozu. Bill in the very act of washing up._ The first photo extant of a star doing this MOTION PICTURE CLASSIC Sunset in the Gulf of Mexico, the Yuma home- ward boimd in tlie ruby seas After finishing the Fox production, “The Jungle Trail, ” William Farnum engaged the schooner Yuma, Captain Jim Thompson commanding, for a fishing trip. Out past the Florida keys they went, into the Gulf of Mexico. There Bill learnt how io harpoon the elusive swordfish and, as a climax p the expedition, he speared a man-eating hammer- dead shark, weighing 1,500 pounds and 20 feet in length. It required a flotilla of soft-nosed bullets from Mr. Fa'rnum’s 22 automatic rifle to finish |\Ir. Shark. Here is Bill Farnum snapped as he shot up Mr. Shark with his automatic rifle. Below, Bill con- ferring with Captain Thomp- son At the lower left is a close-up of the shark Me By Myself The Confessions of a Comedienne Wouldn’t it be the most terrible irony of fate if yon began with the aspirations of a Bernhardt and ended as a clown? I did. What if you had spent hours with your father’s best buggy robe draped around your rather dumpy figure in a desperate imitation of your favorite tragedienne, only to meet with shrieks of laughter when your family, thinking you w'ere being murdered, burst upon you? It happened to me. Have you not held yourself tense as you read Hugo or Maupassant into the wee, sma’ hours and relaxed with relief when you came to yourself again? 1 have. Only I couldn’t relax. It was real. I was meant to assume Duse’s laurel crown. Some day they would realize — then— oh, well, genius can afford to be generous. I was raised in an atmosphere of roasts only on Sunday, starched calico dresses that scratched, and missionary meetings. My rather lonely girlhood had bred in me an absolute frankness toward myself and other people which made it difficult to understand the little peculiarities of folks in general. To laugh at them was the farthest thing from my mind. It was daily instilled in me that life was a .serious proposition — there was no such word as humor, and comedy consisted solely of black-faced clowns and medicine fakers. The worst bump of my life was when I found I was not pretty. My personal appearance had been given no thought at home — it was taken for granted, and my sole sacrifice to vanity was to stand meekly each morning while the clammy end of a wash-rag trickled down my spine. It happened at a school dance. I was frankly a wall-flower. Any overtures I made to the callow youths lined up against the wall made no impression — something was radically wrong. I hur- ried to the dressing-room and gazed at mvself. No. I wasn’t like those ffirls out “1 am not pretty,” de- clares Miss Fazenda. "Only a girl can real- ize what a terrible real- ization that is.” The first director that en- gaged her remarked to his assistant, “Give the kid a chance — but put her in the back and kccf' her in the shade’’ ( Tliirtii four ) By LOUISE FAZENDA unfriendly world; my hair fell in limp, drab folds — it was hair and that’s all ; my mouth was neither pouty nor cupid-bowed — it was something to put food into ; of my nose, the less said the better ; and my forehead and ears, exposed nakedly to the public, gave me a horrid, undressed feeling. I was not struck me. I had always played a little; of course, I was an embryo Paderewski. Why hadn’t I realized it before? My imagination ran so riot that I pictured great audiences held spellbound under my music, then the clash of applause. Yes, I’d show them yet. Living in flats is not conducive to genius — nor flat-dwellers sympathetic. One evening while rendering my own version of “Hearts and Flowers,” there was a hard thumping on the ceiling — I must be quiet or move. I kept quiet. Then I painted. Our rooms were mazes of lurid sunsets and moonsets, landscapes and seascapes — just which was which was rather difficult to discern. The family walked dazedly about with a rather bilious appearance and went off their food, till a kind friend came to their assistance. Wouldn’t I like to make some money for Christmas? The picture com- pany where she was employed were to use lots of extras soon — would I like to try? “I’d love to, but I’d have to ask the family.” There was a pow-wow, and while great-aunts and .second cousins gazed disapprovingly at this rebellious ugly duckling, it Mis.s Fazenda finally worked her way up to in- genue roles “But I couldn’t ‘inge’ worth a cent and it ended in my being fired.” Then in des- peration she tried the Mack Sennett studios, al- tho her friends had warned her, “Keep away from that place if you value your life” pretty. Only a girl can realize what a terrible realization that must be. For a month I was s el f - c o n - scions — what was I good for? I had ambitions, but for what ? One day an idea was decided that, as I had caused quite enough trouble already, they’d better let me have my way. Moving pictures .sounded {Continued on paijc 69) tThnty fv£) I Earle and His Ambitions! © Evans, L. A. Films may come and films may go, but Earle Williams Thought I was going to use the same old ending, didn’t you ? No; this is all about the new benedict’s ambitions, and they dont lead him into the tempta- tion of going on forever, even in films. I remember reading that young Mrs. Williams’ pet ambition was to be fulfilled in California, for she had set her heart on a white house with green shutters. She’s missed that house by a few kangaroo jumps, for it stands at the corner of a block which harbors but four dwellings on one side and none at all on the other. This unrestricted view gives outlook upon the foothills, shows up dandelion-covered meadows even in January, and makes one believe that the Williamses are suburbanites. The Catalina Street houses are on ter- races. It’s ’most like living in a moated castle. There are lawns all around the houses and garages in the rear. The newlyweds’ home is a one-story bunga- low of brownish tints, has an awning- cloth hammock-swing on the front piazza, and is very snugly hidden from spying intruders by tall rose-vines and smilax, intertwined with asparagus. It is the voice of Florine Williams which greets one over the telephone. It is she who protects her famous spouse from annoying, unnecessary conversa- tions. Even tho you must give a minute account of yourself before Earle Wil- liams answers the ’phone, you feel the made to the Earle Williams and his bride live in a pretty one-story Los here, for stands, Angeles bungalow of filled with every brownish tints, snug- sort of magazine ly hidden by tall rose- j t j vines and smilax. Just devoted to the in- above is a glimpse of dustry, brighten Williams in “The dull corners. Highest Ace” and at A hand- col- the right with Grace j . Darmondin Ine ored portrait ot Wouldn’t Mr. Williams in Tell’ the familiar soft hat makes one wonder if by any sleight-of-hand trick it could be abducted, or whether the memories of “Arsene Lupin” and Mr. Williams’ experiences along detective lines on the screen would make him fix the guilty party sans mercy. Earle Williams’ jewelry is unostpta- tious — but it’s all there! A platinum watch-chain, ring and scarf-pin set with blinking diamonds blend with the gray suits he’s so fond of wearing. Imagine being written up and inter- viewed for eight years in all sorts of magazines ! Even Earle Williams cant see the blooming beauty of a publicity cordiality ringing thru his wife's mellow tones. But once you’re expected, the Vitagraph star isn’t afraid to admit you himself. He’s not a bit up-stage and, while his manner sug- gests reserve, he talks easily. All the front rooms seem to open into each other, showing an alluring homi- ness. The furniture is massive ma- hogany. but it’s all meant to be used and lacks stiffness. There are lots of Jap- anese things, many lovely lamps, Chi- nese lilies scenting the atmosphere, and a tall, antique candlestick stands guard over the hearth- stone. But oh, the books ! You’ve missed something if you cant see the handsome, low book-case, filled with beautifully bound volumes, and yet a concession is chat — he acknowledged the fact with j ; sigh. So we talked informally, as womer ( gossip over the tea-cups, or men mingle ^ smoke-wreaths with errant thoughts. “What are your ambitions, Mr. Wil- I Hams?” “Ambit ions f Dear knows, I haven’t i any! But stay; yes, I have. My whole ambition is to tour the world, and I’n- going to do it — see if I dont. Of course, I’ve been in Europe and have done thei! Continent hurriedly, but that is not the sort of trip my ambition plans. I want , to take an easy around-the-world-in- eighteen-months sort of trip, the kind ol trip which isn’t tiring and which would provide infinite amusement as well asj educational advantages to Mrs. Williams:i and myself. I would not even fuss my-,- self by planning ahead, just dally along, staying as long in a place as it gave us pleasure, i and them (Thirty-six) By FRITZ! REMONT moving on by slow stages — dont laugh. I dont mean tlie sort of stages you’ve seen in the movies for years past,” “How about ambitions in the direction of writing plays or directing?” "I just finished co-authoring on a new !>]ay. I like that sort of work very much, bttt T never would assume direction of a play. Tt .seems to me that sooner or later mo.st directors are a bit ‘crazy,’ to put it mildly. It’s no wonder, tho, their responsi- bilities are so heavy. They receive all the kicks from the head office — except in my ca.se, for I have contracted to do eight ]jic- lures yearly, and if we are behind, as we certainly are just now, having finished hut two pictures and partly shot a third, the blame falls on me. ■‘To run off a picture in twhotoplay story. She chattered entertainingly, mai it up in delicious cakes and candy, and had the guests emptyitj cups very politely indeed. If you want to see the real Miss Muffet act, just prowl in Hebe’s dressing-room in the famous old Bradbury mansion, ■ to]i of Gnirt Flight, now used by the Rolin Film Company fri a studio. Bebe owns a big part of that outfit, for they ga: her the finest room in the old hou.se, the second floor froiil which has a huge bay-window facing out over the entire ci . ; Tropical trees throw their shadows on the sunlit, uncarpet I ■ floor, a huge evergreen tries to inv :r second-story men to deeds ofi- ahem ! — valor, and Bebe lov|i everything about her d r e s s i n U room, except the spiders whii't will insist on climbing up weave fanciful meshes for flies that come to Bebe’s parli Just about the time I <1? tered, the “three litb' maids f r chi Bebe is afraid of just three things — gas- stores, spiders and gnus! She isn’t at all afraid of making speeches, but spiders! Gracious ! SPEAKING or guns and things, we'll start right off by saying that Bebe Daniels is afraid of three bugaboos, gas-stoves, spiders — and (Jims! The other day she was faced with her pet aversion, a good-sized Colt — no, not a foal, silly, but one of those put- you -out -of -your- misery Colts and, tho Bebe stuffed her ears with cotton and was prepared not to hear a thing, she ruined a perfectly good shot by scrooging her face up into a pretty good imitation of a per- simmon-eater and had the company tied in knots with laughter. Of course, there were retakes, -and she behaved herself beautifully the next time and showed what a pretty Bebe she really is. But that’s not all. The other night fond Maman was out, and Bebe had unexpected visitors. She wanted to concoct tea, but she hadn’t the nerve to say she was afraid to light the gas-range, and finally hit on the brilliant idea of using hot water from the instantaneous heater, which is a self-lighter as soon as a faucet is turned on. Bebe forgot that 'X- school,' In inseparable Bebe Daniels, Mosquim and Stella H H son, were doing the Dorcas If in the aforesaid bay-window. Jan.rj fourteenth was near — mark the dat"y fans, and her chums were busy cocting birthday gifts for the star of Rolin comedies. Roach, manager of the st| was fortunate enough to be j the same day, so the girls fixing up and planning I'i By FRITZI REMONT [cheon in ths big room, with an ex- nge of gifts all around, lourt Flight is a funny institution, a little cable line boasting of two which balance each other and pre- (t accidents to those who ascend the ;:p hill from Broadway and the Hall Records to the upper part of Court et. The finest view in the city, they this little ascension, and, arriving at top, you’ll get a splendid eyeful of ^ Los Angeles courthouse. Close to (ven as this is, you’ll f’ closer still once :’ve interviewed ije Daniels. >h, yes, we were aking of spiders, ■len’t we ? Well, le was biting off a i of silk thread — just 1 th-at! — when in crawled r of her Muffety admirers and landed {it in the work-basket ! this were only a phonograph instead fi magazine, we’d give you a fine imi- im of doing the scale, for Miss h'.iels shrieked and waved wildly, tie a flying leap for a straight chair n forgot promptly that this was to be lat, not a scene. fter brave Marie Mosquini, the offi- If spider-remover of the trio, had t’jht the creature in a bit of newspaper, life’s heart stopped palping and she rl)rously crept back to her task of nng lace on — — 0, you, dont! Some of this story is ti'tly private — just me’n Bebe style, jljnyway, we got quite well acquainted, n if a spider removed formality. I tella is making a beautiful robin’s- riblue sweater for Miss Daniels’ bii'th- y Bebe says it must be done on time I^Tid her word always goes. Marie Lquini said, laughingly, “You wouldn’t ilk Bebe could be afraid of anything, Rjld you? I’ve seen her get up at ten iiijtes’ notice and make a speech be- 0 thousands of people and get away it in great shape. Oh, Bebe, do you eimiber.the time you had to speak on ^ bition’ at Pa.sadena, at the Red Cross ^i;fit?’’ iss Daniels joined in the three-cor- « d laugh of the initiated. “That was ii'iy,” she said, reminiscently. “When 'IS asked late one afternoon to come 0 ’asadena that night, I told them I Old come for forty minutes, but had an t^iigement to dance at a Red Cross ff r in Los Angeles for the same even- They said that would be all right, and 'irked in the studio till the last mo- let, hurried to dress and have a little irer, and mother and I were whisked V' to the entertainment niuy pronto. “I took my seat at the front of tht hall, mother remaining in the rear. Not a thing happened, and I got very •nervous wondering if I could get to Los Angeles by 9 p. m. Finally, I told an usher I would either have, to speak right then or not at all. I had been so fussed by all the rush- ing about that I’d never even thought much about the speech, but had out- lined a little of it driving to Pasa- dena. Marie and Stella were to be there, and what do you think? Later they told me that Marie got so nervous for me, Bebe is going to devote her time to Art knowing I’d not written down a thing on ‘Ambi- tion,’ that she had to leave the hall when I started talking. So she needn’t brag about being so courageous about spiders ; she’s got a weakness, too. “When I got up to talk, I promptly forgot all about my outlined talklet, and started right in boldly, tho I must admit that I never can control my heart-beats when I have to talk. Let me dance, sing, act, do stunts before the camera or anything like that, and' I’m cool as Alaska in winter, but talking makes me terribly afraid !’’ “But what did you talk about, Miss Daniels?’’ we queried, stupidly, while we watched a sudden change from dainty frock to Turkish harem outfit, which re- quii'ed stockingless feet slipped into gold-cloth slippers, much beading of already heavy dark eyelashes and an extra dash of rouge on Cupid-bovy lips. “Ambition!” said Bebe, roguishly and with de- cided emphasis. “Oh, yes, to be sure, but what did you tell them about it ? About your own experi- ences ?” “Yes — er — and things like that. But I told them that will power was a great thing — that one must get will power first of all. If. I had a child. I’d want it to have a temper and a strong will. Yoii {Continued on page 74) I't/'orty-three) Richman, Poorman, Beggarman — ! They’re All Frank Losee By C. BLYTHE SHERWOOD Frank Losee started out as a boy to study law. That is, the he to which his folks were able to dictate. But in between dusty volumes young Losee was haunted by the whispers of himself — the callings of his heart’s desire. He — wanted — to — act. And because his want was earnest, because his earnest- ness persisted in caring for a thing of interest, because his interest was sup- ported by youth in all its doggedness of determination — he gave up plowing printed words, and joined the Hooley Stock Company of Brooklyn. When a famous cartoonist made world-known that series, “Let George Do It,’’ he meant really, and should have said, “Leave it to Frank.” Whenever the Hoo- leys were in doubt as to whom they could cast for their varied parts, they would come up smiling with the inspiration, “Say! There's •that big, young person — the good- looker with the round voice.” His thirty years’ training on the legiti- mate stage well prepared him for the cinema. Mr. Losee has played the roles of richman, poorman, beggarman, thief, as vividly as he enacted the parts of doctor, lawyer, Indian chief. To both his stage and screen directors he showed that, when it came to a toss- up between tradition and something new, he could win out with the latter, by completely abolishing the idea of having just “certain people for certain people.” He did away, once and for all, with the belief that, if an aged negro were needed to portray an aged negro, the casting men would have to go out and find an aged negro. These incessant switchings from part to part {Continued on page 78) Upper right, Mr. Losee playing him- self; just below is a glimpse of Mr. Losee with Pauline Freder- ick in “Sapho” ; in the lower right cor- ner, as Scarpia in “La Tosca”; as Uncle Tom in the small circle; and, lozver left, in “Great Expec- tations” The Celluloid Critic By FREDERICK JAMES SMITH rHE house of Pathe contributed the one unusually interesting thing of the month, “Common Clay,” with Fannie Ward. This screen adaptation, by Ouida Ber- ;ere, of Cleaves Kinkead’s rrelodrama, may not find its v&y into our list of the best ihotoplays of the season — be- ause of its banal convention- lity — but Miss Ward’s play- tig stands out at the very orefront of the year’s acting. “Common Clay” starts as a veritable human document, the ital story of a young woman, raised in squalor, who longs for uxuries and pretty things. But Mr. Kinkead lapses into the tsual melodrama of the persecuted heroine and the illegitimate he-e-ild. Thru all the trite situations Miss Ward is an in- ensely moving and dramatic figure. The star has never given better characterization to the screen. There is a genuine :rip to it. George Fitzmaurice’s direction has its excellences and weak- esses. His interiors of wealthy homes are obviously huge studio ets, with cloth checkerboard “marble” floors and canvas walls f painted “stone.” But Mr. Fitzmaurice has succeeded in get- ,ing every player into the dramatic spirit. The cast is wholly dmirable. Mary Alden contributes one more unforgettable prtrayal, a very real woman of the slums. There is one jenuinely big moment in “Common Clay,” when she sees little '.lien Neal go into the night. Fred Goodman’s weak man- bout-town is a distinct thing and W. E. Laurence reveals ,e c i d e d lossibili- es as the ear-hero. The 1 0 n t h , ,3 0, p ro- ll ced at ast three ecidedly e a s a n t ght pho- splays, he best of h e s e , Peggy oes Her arndest,” Metro) , a d e - fht, with ay Alli- s n. the of the roceed- ;gs. The ' L A s s I c 1 s narrat- this lit- h farce, lu t no lire tell- i? of the wry could iveal the Iquancy, 1 3 sponta- r ity and vivacity Miss Allison lends the slender little theme. It is just a , farce built around the younger sister of a wealthy family — a tomboyish hoyden who re- volts against her elder sister’s tyranny and steals her beau. “Peggy Does Her Darndest” is brirnful of fun, the beau- tiful May being admirably assisted by Rosemary Thefy as the autocratic sis- ter and Dick Rosson as the gymnastic brother, while Augustus Phillips makes the small role of a gentleman crook stand out. This comedy marks a new milestone in the career of a young woman who is going to be the most popular comedienne on the screen. One of the ushers at the New York (Continued on page 79) Top, Wil- liam Farnum and Louise Lovely in “The Man Hunter” ; right center, Fannie Ward as the heroine of “Common Claj^”; and, left, Corinne Griffith in ‘‘The Girl Problem” (Forty-five) In the Broadway Theaters Ruth Donnelly and Ralph Sipper- ly offer brisk com- edy performances with George M. Cohan in “A Prince There Was” at the George M. Cohan Theat««' © White, N. Y (Forty^ix) One of the liveli- est of the Broad- way musical com- edies is “Some Time,” at the Ca- sino Theater. The striking chorus is one of the fea- tures. Here are four remedies for the Tired Busi- ness Man: Ann Toddings, Anna Stone, Renee Hughes and Marie Astor Leo Ditrichstein is contributing one of his most bril- liant characteriza- tions in the Conti- nental comedy, “The Marquis de Priola,” at the Liberty Theater © White, N. Y. The piquant Peggy Hopkins has the leading role in New York’s newest bou- doir farce, “A Sleep- less Night,” at the Bijou Theater © Goldberg, N. YT "<£) White, >i, Y (Left) Known to operetta as a delightful voiced song- stress, Eleanor Painter is win- ning new laurels as a dramatic actress in the melodic - drama, ‘‘The Climax,” now on tour {Right) One of the popular hits of the season is ‘‘East Is West,” at the A s t o r Theater. In this drama Fay Bainter offers another pictur- esque creation ^ ■ s !.,■ .fefe ®«i; i " '"tf D White, N. Y. Ine of the bright 'eatures of “The V^elvet Lady” at he New Amster- 1am Theater i s lainty Fay Marbe (Forty-seven) © White, N. y. Campbell Studios The Extra Girl Invades Anotht Courtroom WE were resting between scenes. In hushed ton we were exchanging confidences that, if shout* from the housetops, might have turned mo archies into republics, Bolshevikis into Holy Rolle and ended for all time any doubt in the public mir concerning the League of Nations and the freedom the seas. “She’s a winner,’’ eloquently whispered “Muffins brushing the hair back from his high brow. “Believe me, old girl, they dont come any finer supplemented “Coffee,’’ writing “Finis’’ on the tabl of the last olive oh the plate. “She’s the best little woman in the business,’’ r marked John Stahl, sotto voce to an interested spe tator. At that moment the subject of discussion a] proached, with that graceful glide which has long be* our envy and the object of our unsuccessful imitatio She was enveloped in squirrel from chin to toes. H* eyes shone thru the brim of her black lace hat and, “Muffins” put it, “she was a winner.” But it takes more than that to make and keep scon of friends like “Coffee” and “Muffins” and Mr. Stal; “You must be genuine and human and then — we then you should worry about anything else,” “Coffei told me later. It all came about this way. My best friend a> nounced one day — and oh, how she flattered me!- “Get a story about Florence Reed, and I’ll forgi you for going into pictures.” You see she (the best friend) comes from Worce ter. Mass. Worcester has one great reason for pric besides its proximity to Boston, and that is the fa that Florence Reed was at one time leading woman its favorite stock company. Above all things I crave my best friend’s forgiv ness, so one morning I waited at the corner of Fort; second Street and Tenth Avenue for an I-dare-you-t catch-me until the Indian outside the nearest cig; store had nothing on me in the line of being a perm nent feature of the landscape, and was rewarded finally landing on my arched insteps at the door of tl Fifty- fourth Street studio. As usual, a courtroom w; in the act of being transferred to the screen. No\ if there is a courtroom lying around loose in which have at one time or another failed to grace its harde bench, I can in no way account for its escape. Th chamber of justice had one lone seat vacant, and th lone seat had a thousand beckoning hands. Even b fore Assistant Director Fred Hazenmeyer had e: gaged me I found myself moving towards it as if a trance. Here and there a face that had aided me decorating other courtrooms in previous existence smiled at me in friendly greeting. The jury, had already a sembled. In general comp sition it was not unlike oth juries that sit and are paid fill space ; in fact, I reco nized several jurors of yeste year, and even the year befo that, except that it was mac up of eleven men — and or woman. The woman, ,( course, was the heroine. Mi Florence Reed has been dividing lier time b e t vv e e n the stage play, “Roads of Destiny,” and the screen studios. She has just completed “The W^oman Under Oath,” in which Miss Rosemon appears with her (Forty-eight) By ETHEL ROSEMON be registered upon the screen ? But Miss Reed is the actress whether the audience is looking or not, because — well, I suppose be- cause it is a way real actresses have. Every reaction to the words of the attorney was mirrored in her expressive face. I thought of Mr. Stahl’s words : “These are not moving pictures, but men- tality pictures. Every turn of Miss Reed’s eyes registers a thought.” When the accused, the witnesses, the {Continued on page 80) T op, Miss Reed, Blyth Daly, daughter of Arnold Daly, and “CofTfe.” Center, Hugh Thompson, Fred Ha;:enmeyer, as- sistant director. Miss Reed and John Stahl, director. Below, Miss Reed, Miss Roseinoii and “Coffee” fleed. She was watching with ntense interest Gareth Hughes, tnder the grilling questioning of the prosecuting attorney. Did he recognize the gun ? Had ae purchased the gun on the light of the murder? Had he jone to David Powell’s apart- nent on the same night in the itispicious company of said i[un ? He had, but he still per- b| Maantr/ listed he had not tired the shot hat had temporarily discon- inued the villain’s line of ;hameful deeds. The prose- uting attorney was confident hat he had won his case. In neasured tones he imparted hat confidence to the jury in jeneral and to Miss Reed in )articular. While he was thus ;ngrossed in his oratory I had m opportunity to make a note >f one of the main differences )etween a movie star and an .ctress. According to Hoyle, he former’s face would have emained impassive, for the :amera was shooting over her ho.ulder, getting the back of jer chic little hat and the corner of one small ear, but lot a glimpse of her face, ;0 why should she express limotion that could not possibly ( (Forty -nine) 1 Sugar and Spice aiji Everything Nicel TRiTiNG about kings and queens at this particular stage of tl ii world’s development would seem an inauspicious beginning a popular story, royal families being rather out of fav(j,) nowadays. 3 However, that oft-quoted exception-to-the-rule is the subject now beirijl treated, for right in the heart of New York there exists a royal fami which, we dare say, will always be popular and well-loved by its subject A royal family whose queen is a King. In order not to disturb you 1 any further anomalies, I hasten to explain that I am speaking of Molljl King. ' j Mollie, (no one ever thinks of calling her Miss King, so democratic fl this queen of Broadway), reminds us of that well-known saying, “sug:|| and spice and everything nice.” She makes us think of crushed stra\f berries, out-of-season, and ice-cream ; of pink and lavender crepe-d chine, of errriine and sables, but principally of diamonds, huge, spar ling, million-dollar diamonds. _ . .1 One cannot, by any stretch of the imagination, think of Mollie Kii without these things, and yet, while we waited for her to gef i^ at midnight, ( she was singing and dancing on the Century roof her sister Nellie told us of the time when they were youngstei Nellie and Mollie had both played on the stage since babyhoc largely in vaudeville. Immediately after this Mollie King was featured in t| Winter Garden and has been a queen of musical comei ever since. “Mollie always was a cute kid,” said Mother Kir “She didn’t have a voice, but there was just somethi about her that everybody liked. Whenever she’d pij up, in her shrill little soprano, she would comma:| immediate quiet and attention from the most crowd audience. “And the most generous child, no more sense of respc sibility than the man in the moon, always jolly, alwa loving life, always doing something for other people.” “O-o-o-h, mother!” a voice like the cheerful chirp of canary called from the inner recesses. Mrs. King jumped to her feet. • Two seconds later she returned. “You can come now; I’ve got 1 buttoned up.” “It is so nice of you to come,” Mollie greeted us, and chatted on quic without giving any one a chance to put in a word. “Awfully good of y Wont you have some of this — and this — and this?” I found myself being loaded down with candy boxes, which a little s hand shoved into mine, from innumerable dra ers of the commode, in front of which she sto Boxes covered with lavender brocade, five-pot boxes, ten-pound ones, and insignificant t\ pounders appeared as if by magic from ev crevice. “Oh, that’s all right ; dont say a word. I’ve lots more, dear. Dont know what to do w them, really I dont.” The dispenser of bonbons stood still foi second. Her beauty is quite breath-taking, the, sort pink-and-gold and baby-stare beauty that ; read about but dont believe in. Her soft, d eyelashes, far longer than those ever describee the season’s best-seller, frame eyes of hazel hue. Golden ci peeped from beneath an enormous black picture hat oi mented with priceless birds of paradise. Her lithe ya figure was swathed in clinging black velvet. Her father entered and wrapped an enormous coat of the ricI sable about her. j • i “Be sure and keep that bundled around your neck, Mollie, he admomsi “Are you sure you have everything, honey?” Little Mrs. King hove anxiously around. Mollie King reminds one of crushed strawberries, out-of-season, and ice- cream; of pink and lavr ender crepe-de-chine ; of ermine and sables, but principally of diamonds, huge, si«rkling, millioiy dollar diamonds. Mollie o’ the movies is just now featured on Broadway in “Good-Morning, Judge,’’ and in the Century roof show (Fifty) By SUE ROBERTS Mollie King’s beauty is breath-taking, the sort of pink-and-gold and baby-stare beauty that you read about but dont believe in. Her sof t, dark eyelash- es frame eyes of hazel hue. Golden curls peep from beneath enormous picture hats Out in front we were shown to a table in the very center of the roof. The show was a very brilliant one, but we waited uneasily for Mollie. Her brother, Charles King, appeared and was the object of much applause. Finally we could stand it no longer. We tripped down some dark passages, hemmed in by canvas scen- ery, until we reached an open space directly behind the stage. Here stood statuesque chorus-girls, gor- geous in their stage plu- mage and beautiful in spite of rouged faces and carmined lips. Mollie King’s dressing-room was gayly pointed out to us. Four chorus-girls were peacefully reposing on Mollie’s couch. Mollie’s maid was serving them with refreshments, while the queen and star of the show sat in front of her light-studded mirror doing her own hair, {Continued on page 89) j “I feel like wearing jewels. Where did I leave them?” said ollie, feverishly fumbling around her boudoir. We looked worriedly about. Precious jewels might be peep- 'g from the rosy, lavender lace coverlets that draped the cool, lory-colored bed. Maybe they were caught in that deep pink nopy of silk and lace. Surely that was a diamond that jieped from the cunningly simulated rosebuds that orna- ented the floor lamp. But no, from the same white commode from which, pagician-like, she procured the boxes of candy, Mollie rew forth a jewel-case and, carelessly slinging it over x arm, said she was ready. !And, from out of all this exotic materialism with which e public had endowed its darling, Mollie King’s eyes joked at us, round and expressive of childhood, raightforwardly, deprecatorily, smiling with good fel- jivship. We left her at the stage door. The steel-cut buckles on her lall black pumps sparkled as she tripped in. ‘‘Be sure and 'me back and see my dressing-room, wont you, dear?” she ;lled, as she entered the mysterious back-stage regions. 1/ ( t^'ifly one) White The New HELEN LEE WORTHING Above: DOROTHY E. FISHER Left: MARGUERITE A. HAUPT Right: MARIE CHAPPELLE NOW that most of the for- eign lands are contrib- uting to the Fame and; Fortune Contest of The Mo- tion Picture Classic and The Motion Picture Maga- zine, interesting comparisons|( in the matter of national beauty can be made. Thu far the American girl noti only holds her own, but the entire field! But one or twc young women born outside oi the United States or Canada' have thus far won an honor position in the international contest. What more can be said of the beauty and charm- of the American maid? The sixth honor roll of the Fame and Fortune Contest has been decided by the judges to number: Delilah Otte, of No. 6S Chestnut Avenue, Jamestown) N. Y. Miss Otte is a blonde type with blue eyes. She h five feet eight inches in height Miss Otte, by the way, was one of 29 young womer picked from thousands of en- trants in the “Typical Ameri can Girl Contest” conducted some time ago hy The Neu York Times, the jury oi (Fifty-two) ,ime and Fortune Beauties Above: DELILAH OTTE Left: ALICE MAY MARVIN Right : VIRGINIA BROWN judges including such artists as Fisher, Stanlaws, Flagg, King, Boileau, Gilbert, etc. Helen Lee Worthing, of No. 1073 Beacon Street, Boston, Mass. Miss Worthing is a Southern beauty, with blonde hair and dark-blue eyes. She was born in Louisville, Ky., and is in Boston study- ing singing and dramatic art. Miss Worthing won quite a little attention in the Boston papers at the time of the recent influenza epidemic. She donned a Red Cross uniform and volunteered her services *to the Brookline Red Cross, personally aiding in the nursing of sufferers. She drove her own car, too, in transporting patients for the Red Cross. Miss Worthing is a member of the Louisville Dra- matic Club, a well-known amateur organization. |k Marie Chappelle, of No. 49 Garden Place, Brook- Hyn, N. Y. Miss Chappelle has dark-gray eyes, I auburn hair and is five feet seven. She has never been on the stage or screen. Marguerite A. Haupt, of No. 1917 Sixth Avenue, Spokane, Wash. Miss Haupt has gray-blue eyes, light-brown hair and is five feet four. Dorothy E. Fisher, of No. 318 18th Street, Seattle, Wash. Miss Fisher has brown hair, blue eyes and is five feet four and three-fourths in [height. Thus the rivalry between Seattle and Spo- kane goes merrily on. Both these cities seem to be 'contributing thousands of portraits to the contest. I Alice May Marvin, of 19218 Walnut Street, 'Berkeley, Cal. Miss Marvin has appeared on the ( Continued on baoe 83V (Fifty-three) Rosemary Theby and Robert Ellis have promi- nent roles in Olive Thomas’ support In her first Selznick pro- duction, Olive Thomas plays the flapper vampire heroine of the Hattons’ piquant farce, “Upstairs and Down.” One of the lively scenes is a bathing- suit party in the servants' quarters of a Long Island residence Enter— the Baby Vampir (Fifty-four) yVt The Stronger Vow Told in Story Form from the Geraldine Farrar Photoplay By OLIVE CAREW was carnival night in Seville. Over the ancient city the azure tent of the sky wms hung with the glowing lanterns of the stars and a great, round, softly colored moon was wafted above the cathedral nnacles like one of the balloons in the square below. From every dcony streamers caught the crimson light of the torches and sent it fegming on the soft breeze. From every shadow sounded low jices, quivering, importunate, lilting laughter, kisses. [Carnival in Seville! Youth and the madness of youth, love and ve’s magic, heat of old passions, old hates wreathed with exquisite lurtesy, like a stiletto wound with rose vines. The masks that the balleros wore covered dark faces, and darker desires, the arch eyes ieping over waving fans were full of strange lights and glows, ladows of the flames that sent tall Troy crashing into embers ages ice. TAh, but I adore the festal” The girl in the loge above the arionette booth bent forward to uncoil a serpent of confetti 'er the crowd below. The blue lanterns strung along the bal- ny lighted up her strong yet sweetly rounded figure as she did , the proud chin and head set on the white column of neck, e hollows of the young bosom between lace folds of the man- ia. The man watching her silently from a corner of the box ,ught his breath at her fairness, tho it was an old tale to him. e was a broad fellow, with a thick, stocky figure and a hand- me face, bitten by the acid of many passions, fearless in a fight, [forgetting in a grudge, unswerving in his purposes. And is girl, with her dark, lusterless wreaths of hair, her arching brows and proud, high- bred beauty, was one of his purposes. He wanted her with a want that ate him like corrosion, and he would have her when his time was ripe. ‘■Do you know, cousin,” she turned to him gaily, ■‘my mother met her fate at the carnival, and so perhaps I, too ” She was busy drawing a golden ribbon thru one of the painted eggshells which the venders sold. ‘‘She sat in a balcony and flung a bauble into the crowd, and my father — who must have been a handsome man then A romance of love and vengeance in old Seville and the Apache dens of Paris — caught it and brought it back to her, and that was the beginning. So you see I am really a daughter of Carnival. I wonder whether She had lifted the gay toy above her head and tossed it out above the shifting crowds. The others in the box applauded ; even the duenna smiled approval. Dolores De Cordova, of an old Ca.stilian family whose line ran unbroken and unsullied to the farthest horizons of history, could say, with the old French monarch, ‘‘I am not ac- countable to conventions, for I am a convention.” Pedro Toral scowled. He hated to be re- minded of his distant rela- tionship. Afterwards, when Dolores was seat- ed, the stranger sprang up beside her. “Is this the end. lady, or beginning ?” whispered the he he hated the knowledge that other men had the same rights of looking at her and adoring her that he possessed. Sometimes he was not quite sure that he did not hate her, with her mock- ery and high disdain and unreachableness. Jose, her younger brother, was peering over the railing, watching the flight of the whimsical token. “A prize ! You’ve won a fine prize, Dolores !” he shouted, doubling up with laughter. “See, that tall caballero in the monk’s cloak caught it, and Dios! but he’s looking this way— he’s coming, I do believe !’’ In the square below a tall, straight figure, cloaked and masked, was pushing among the crowd of masked merry- makers, in their direction. Glimpses of conventional evening dress showed beneath his cloak, and he wore a silk hat, fan- tastically wreathed with purple and green paper streamers. There was an assurance in his carriage, an air of authority about him that showed even in his grotesque mummery. Dolores’ eyes were sparkling with mischief as she leaned gracefully against the rail and looked down, the rich color coming and going in her cheeks. Pedro, gazing, leaned to Jose with a snarl. “Surely you will not allow him to speak ! A nobody out of nowhere. What are you thinking of?” “Oh” — Jose tossed the thought from him with an im- patient shrug — “what’s the odds? This is carnival !” The painted eggshell swing- ing from his fingers by its tinsel ribbon, the stranger stopped beneath the box and lifted his hat with a sweeping gesture. “I have come to thank you, senorita,” he spoke with a pleasant voice, “for this favor. “THE STRONGER VOW” Fictionized from the scenario by J. Clarkson Miller, based on Izola Forrester’s story. Produced by Goldvvyn Pictures, starring Geraldine Farrar. Directed by Regi- nald Barker. The cast : Dolores De Cordova Geraldine Farrar Sehora De Cordova Kate Lester Juan Montojo Milton Sills Pedro Toral Tom Santschi Bibi Le Boux Hassard Short which has made it possible for me to speak to yc “It is the Fates that you should tliank, senor,” Dole laughed. “I entrusted my message to them.” l| Toral rose, white with rage, and dragged Jose to his iF and out of the box with him. “In another moment I shotd have slit that fellow’s throat for him !” he growled as, la| they sat about a table in one of the numerous temporary dri ing booths, while a Pierrette inclined to stoutness served tl with wine. Jose, who had already had rather too much wine that e\ ing, tossed off his glass before he replied. “Oh, you’re imj sible, Pedro! Always trying to pick a quarrel. There’s] harm in it. The man was a gentleman — any one could ;e that.” “You shouldn’t have allowed it,” Toral insisted sulle His eyes searched the circle of boxes about the square u they discovered a white arm, lying along the rail, a grac<' head bent to meet the gaze of the blurred, dark figure stanc beneath. His fury mounted to his brain, clouding sense ] dis .retion. “And if Dolores was all that she should be, | would not allow it, either. Only a light woman ” “Be careful what you sa|jj| Jose was on his feet, qui’J ing, with his hands at other’s throat. “Take back, or they will be the words you ever speak !” And while they strugj| Dolores and the stran talked on in sentences as if and light of meaning as blown bubbles of ballc^ about them, while their ej gazing steadily into one anotj spoke of other things, 'lei (Fifty-six) \ASSIC , leiina nodded sleepily in the back of the loyc ; all about them e music of guitars and violins wailed immemorial longing, e dancing and gesticulating figures in clown’s garb seemed e creations of a dream, and in all the hot and spangled night ere seemed but they two Afterwards, when the De Cordova carriage had come id Dolores w^as seated, the stranger sprang up beside ■r. “Is this the end. lady, or the beginning?” he whis- red. He had unmasked, and she saw a young, grave face, ith finely cut features, turned to her, with a look that set her ul to singing. ;The many-colored rain of confetti blew about them, her :isky folds of hair were rainbow with it, and her eyes were istful with the light o’ dreams. “It is strange, but then life strange,” she answered. “The Future still wears her mask, nor, and what lies behind it we may not know. Yet it may He put out his hand and drew it back, not touching her. iVe shall meet again sometime. I am as sure of that as that I all some day cease to breathe,” he said, quietly, with a slow, ;ep breath. “Till then, farewell,” and he was gone, vanishing to the rout of maskers. In her dimly lighted bed-chamber Senorita De Cordova lay, •opped upon high-piled pillows, awaiting the return of her son id daughter from the carnival. She was a little, frail, wisp • a woman, in whom the fires of life still smouldered with a lost of their old flame. She coiild still thrill to the memory ’ old, long-faded loves, still nourish the traditional hatreds of ir house at her withered breast. When Dolores stood on the threshold the woman on the bed ised herself with a little cry. It was as tho her old self bod there, fresh from the carnival that had given her her ver. She stretched out her arms. “My child, what has ippened ?” [ Rut she did not need to ask, Dolores did not need to answer, jor a long while there was silence in the room, each woman oking down the pathway of the years, the one along a trav- ed road, the other, wonderingly, along the path that stretched lead into the blinding glory of the sun. A strange sound brought them back to the present ith a start — the shuffle of slow feet on the court- ird stones, men walking heavily, as if they bore ime burden. The lower door swung open with a ang and the shuffling feet began to ascend the stairs portentous silence that seemed to shriek with nister, unuttered things. .Senora Cordova, she who had not walked |)r years, rose stiffly from her bed and ood on her feet, waving aside her daugh- r’s hand. “Your brother” — she said the ords with a deep certainty — “he is dead, id they are bringing him home.” They were standing in le same frozen immobil- y when the dreadful pro- ission entered, a carriage fiver, an officer, sevei'al askers still in their fool- h panoply of light- sartedness, bearing be- tween them the still form of Jo.se De Cordova, the last male of his line, dead with a cowardly knife thrust between his shoulder-blades. Dolores ran to the still figure, sobbing out inarticulate grief, moaning, stroking the heavy rings of black hair on the white, cold forehead, but tbe mother, straight and tearless, spoke with steady lips. “Who did this thing?” A squat, broad figure detached himself from the shadows of the stair and came into the room. It was Pedro Toral, shielding his ravaged face from the light. He spoke in short, jerky sentences, never ceasing to shield his face with one broad, muscular hand. He and Jose had supped together and said farewell. A little later, as he was returning home thru a dark alley, he had stumbled over the body of his more-than- friend, his dearer-than-a-brother, foully done to death! At his cry a crowd had gathered and he had shown them the way home. That was all. “Dolores,” Senora De Cordova said tunelessly, “you alone are left of our house to avenge your brother. You are only a girl, but you are a Cordova. Swear that you will find his murderer and kill him.” Dolores raised herself to her superb height. Every vestige of color was gone from her face, and her eyes were the only living things about her. She touched her finger to the blood that dripped from Jose’s wound and made the sign of the cross above her head. “Blood for blood! Life for life!” she cried, in a ringing tone. “I swear that I will avenge my brother!” If time cannot erase old scars, it at least heals them so that they no longer throb. In the days that followed Dolores was caught up into the whirlpool of life and tossed hither and yon until at last she was cast upon safe shores. A twelve- month later found her in the house of her aunt, Doria D'Olonne, the widow of a French attache, in the Rue Eugenie in Paris. The Senora De Cordova’s frail thread of life had snapped ’’vc brought you here, My acly Disdain, to see that you ilfill your vow,” he told ;r. “With your own hands )u’re going to kill your ae new husband and after- wards — ” i (Fifty-seven) |i I' , MOTION PICTURE CLtsi ( laid away in the family vault under the limes, and Dolores had left her birthland, a sad-eyed beauty in her black robes, who contemplated taking a nun’s vows and sighing away her life behind the gray, ivied walls of some convent. No nun, this, who stood radiant in white satin and pearls, with the look on her face that a woman wears but once, when she stands beside the man she loves and repeats proudly before the whole world her vow to "love and honor until death do them part. The Marquis De Valera, who stood beside her, was a tall, serious man, with finely chiseled features and an air of authority. He was a member of the Spanish Legation, and a hundred tales were whispered among the crowd of guests who attended the wedding as to how the two had met ; at Monte Carlo, one related, at the embassy ball, corrected another. Only one person in the room be- sides the two most con cerned knew the tale of the meeting, on a night of revelry and color, more than “He’s .in en Here’s a k fd She felt cold te< pressed into lit- fingers. “If yoi do not kill lim others will. 5-ifc for the hea !” a year gone hv. Pedro Toral, outwardly impassive, smoothly garmented, a gentleman attending the wedding of a distant cousin, was, in reality, a soul in hell. His fingernails were white with the ■itrain of his clenched hands, and behind the lids of his dovvn- :ast eyes smouldered the fires of unholy flames. Yet his lips wore a little still, writhing smile as he hugged the thought of nis purpose close to his sick heart. Afterward, when she went upstairs, he would strike, not with blows, but with words. He would watch the happiness slip from her face, watch her joy turn to hatred. He made the most of his moment. Facing her behind the closed door of her boudoir, he deftly reopened the wound. “Have you forgotten your vow to avenge your brother Bah ! How soon women like you forget ! A kiss, and you fling away your Honor, the honor of your race, like a handful of ashes- She saw crest that knew so and reco with a cry was wrung jbi; her soul. Iti as tho a gray, blurr had fallen acj her r a d i beauty, at her infinitj When she s] k« her voice was very weary. “I will not — forget my vow now, Pedro, leave me. For the love of Mary, leave me i can plan — what — I must do ’’ A wild moonlight was blowing about the streets v(B ini “Why do you say such things to me now ?’’ Dolores asked lim, clutching her joy desperately round her. “Give me this noment of happiness, Pedro. It is mine, I tell you— mine ! He looked at her and laughed cruelly. “Happiness With he murderer of your brother ?’’ Slowly, as if the sap were gone from her, she sank down ipon the couch. Under the veil her face was a white horror. ‘A lie,’’ she said, with difficult lips. “A lie “The truth.” Pedro whipped a handkerchief, sinister with ;ain, from his pocket and pointed to the crest in the corner. Do you see that? I found it beside Jose — his blood is on it, le same blood you dipped your finger into when you swore lat his murderer should die !” Dolores slipped out of the rear door of her aunt’s house(n(i ran, stumbling, down the Rue Eugenie, seeking the shad rt and clutching the folds of her dark cloak about a plain ga that had been brought with her from Spain. At the coiEr, where the great bulk of the cathedral squatted against the ly, she paused: then, with a desperate haste, pushed open m of the chancel doors and entered. From the shadows figures slipped after her to the church portals and there se;:d themselves to wait. “Make no mistake,” their leader told them, in a hissing vjs' per; “she must have no chance to scream. Down the im there, then to the right to the Cafe of the Red Brothers-H “Did we ever fail you before, master ?” the burliest shjIW muttered, hoarsely. “This wont be the first little job, ;h] Trust to Bibi, she shall be silent as the dead.” When the bandage was jerked from her eyes and the 3 from her lips, Dolores looked about her at rough, bare vlh mouldy with green damp, earthen floor, rude tables and cFi^ wine-steeped, and into the blazing face of Pedro Toral, :«1 which had slipped all pretense of gentility, leaving a huifl animal with bared, slavering fangs and bloodshot eyes. “Eve brought you here, my Lady Disdain, to see thatj fulfil your vow,” he told her, licking his lips with thick-^ tongue. “With your own hands you’re going to kill your S (Coil filmed on pane 64) (Fifty-eight •• • To^^'ootk your en- title, work around the twe'of'the nail with €iitex [ ^ FOf snowy naill\ tiffs /add a touch of pHfejx Nail IVkitel under each nail ~For brilliant nails rub briskly with Cntex Nat! Palish. "I have found Cuiex the most effective way of taking care of my nails." ALICE BRADY How to give yourself a “professional” manicure A few minutes' care once or twice a week keeps your hands flawless y^WAYS — day and night — are you proud of the appearance of your hands? With the least bit of time, the least bit of trouble and expense, I your hands can always be as well- ' groomed as though you had just I come from the manicurist. To make the cuticle smooth ? ’ The most important part of a manicure is the care of the cuticle. Never cut it. Beauty specialists agree that such cutting causes hangnails and rough, uneven cuticle. Wrap a bit of cotton around the end of an orange stick (both come in the Cutex package). Dip it into the Cutex bottle and work' the stick around the base of the nail. gently pushing back the dead cuticle. Rinse off the dead surplus skin thoroughly in clear water. To whiten nail tips and polish nails Next, directly from the tube, apply Cutex Nail White under- neath the nails. Spread it under evenly and remove any surplus cream with an orange stick. This leaves the nail tips snowy white. Finally rub Cutex Cake Polish on the palm and pass the nails briskly over it. If you wish an especially brilliant lasting polish, apply Cutex Paste Polish first, then the Cake Polish. Some people, after using water, find that the cuticle at the base of the nail tends to become rough and dry. Cutex Cuticle Comfort is a cream especially designed to keep the cuticle soft and pliable. Do not think that by spasmodic care you can keep your nails well groomed. Whenever you dry your hands, push hack the cuticle with a towel. Then regularly once or twice a week give them a quick Cutex manicure. In this way, you can keep your nails always lovely. Six “professional” manicures for only 21c Mail the coupon below with 21c, and we will send you a complete Midget Manicure Set, which contains enough of each of the Cutex products to give you at least six wonderful manicures. Send for it today. Learn how beautiful your hands can look all the time. Address Northani Warren, Dept. 905, 114 West 17th Street, New York City. If you live in Canada, address Northam Warren, Dept. pofl. eoo Mountain Street, Montreal. MAIL THIS COUPON WITH 21c TODAY. northam warren Dept. 90S, 114 West 17th Street New York City- Name Street T Gossip from the Pacific Coast By FRITZI REMONT for Jack Pickford; Mark Larkin, who used to do the publicity honors for Balboa but who had the honor of being selected by winsome Mary to “cover” her doings, and pretty Lois Wilson herself, resplendent in a ukre is not at present a more inter- esting studio to visit than the Brunton. There are so many stars leasing space on the Brunton lot that one cant help calling it a treat to spend a day there. In the first place, they are building a bun- galow suite for Mary Pickford, who will have her own dress- ing-room, bath- room, publicity director’s suite, and every con- venience for her new produc- tions. Jack Pickford has a suite in the administration building, which also harbors Ses- sile Hayakawa, Frank Keenan, Olive Thomas, Bessie Barris- cale, Alma Ru- bens. Kitty Gordon, Dustin Farnum and now Clara Kimball Young. When one walks down the broad hall of this build- ing, which is flanked on either side by the stars’ suites with their respective publicity offices, a real insight into this huge industry of picture producing is gained. In the hall, I met George Fisher, who has been doing a picture with Frank Keenan and Lois Wilson; Ted Sloman, now perfectly at home in Los Angeles, after his three years’ stay in Santa Bar- bara; Pat Dowling, installed as publicity mess in ballroom frock covered by a loose, fur-collared coat, as she’d just come in from loca- tion. Luncheon was a mighty amusing thing. We all gathered in a shack attached to the edge of the Brunton lot like a barnacle to a wharf. At one table, Sessue Hayakawa had just finished dally- ing with a bit of food, but graciously arose and used his paper napkin to clean up the one side for roguish Mary Ander- son, who came in all dimples and pretty flushed cheeks. At the counter Kathleen Kirkham slid her fish-tail evening gown over a rough stool and ate her luncheon with as much appetite as if she’d had Dresden and cut- glass befitting the gor- geousness of her frock. By a window, at a table built for two, wee ! Mary Pickford Rupp was lifted into a chair by the Pickford chauf-l feur, who enjoyed a complete dinner while the baby uncomplain- ingly and with great j appetite negotiated graham crackers and! milk. She’s not a bitj spoiled, that youngster, and never asked for a bit of pie or ice-cream, !| as most little tads do. Apropos of Mary,] Jr., I must digress suf-| ficiently to tell you of|| her youthful admira- tion for Francis Car-I] penter, who was seen on the lot ready to do] his bit with Jackij {Continued on page 68)j[ Maurice Tourneur, {upper\ left), went to the bottomi of the sea off San Pedro| to direct scenes for hi “The White Heather.’ Center, King W. Vidorj his wife, Florence Vidor, and their brand new baby Suzanne. Below, Dorothy Gish and Dick Barthel- an off-the-screei; moment (Sixty) Ingram's \^V€ola, V Souvcrattte Itigrum's Siou^e Coupon FREDERICK F. INGRAM CO. Miss Shirley Mason is another famous star of the screen stage who states that she “prefers” Ingram’s Milkweed Cream. Iiigttim's Milkweed Cfeam To give your complexion the wrong kind of care is as harmful as though you gave it no care at all. Every skin needs to be kept well cleansed and soft but it also needs to be kept toned up and healthful. It is the therapeutic quality of Ingram’s Milkweed Cream in combi- nation with its softening and cleansing properties that has made it the ruling favorite for 32 years. Time and use have proved it the best for you. Get a jar today and begin to use it every night and morning. Buy it in either 50c or $1.00 Size Shirley Mason and Ernest Truex in “Come On In" Notice the silver bar. Perhaps Ernest should evince more inter- est in the gold band binding him to his beaming bride. Maybe the silver bar made the gold band pos- sible though. What do you think? Paramount Picture (146) FACE POWDER A complexion powder especially distinguish- ed by the fact that it aiaya on. Furthermore a powder of unexcelled delicacy of texture and refinement of perfume. Four tints— White, Pink, Flesh and Brunette— 50c. “Just to show a proper glow” use a touch of Ingram’s Rouge on the cheeks. A safe preparation for delicately heightening the natural color. The coloring matter is not absorbed by the skin. Delicately perfumed. Solid cake. Three shades— Light, Medium and Dark— 50c. 83 Tenth St., Detroit, Mich I enclose a dime in return for which please send me your Guest Room Package con- taining Ingram’s Milkweed Cream Rouge, Face Powder, Zodenta Tooth Powder and Ingram’s Perfume in Guest Room sizes. FREDERICK F. INGRAM COMPANY Established 1885 Windsor, Canada 83 Tenth St., Detroit. Mich., U. S. A. Australasian Agent, T. W. Cotton, Pty. Ltd., Melbourne. Australia (Sixty-one) f7 r \Vi£Y Maga- zines Ark AS They Are Scene: Ed- itorial sanc- tum. Time: 10 A. M. Editor gets brilliant idea, reaches for telephone. G i V e in e Murray Hill 8500. Line’s busy on Main 8700. I want Murray Hill 8500. One moment, please. I’ll let you speak to the super- intendent. {Slightly a n - noyed) I dont want the superintendent — I want Murray Hill 8500. {Fifteen minutes pass, while editor rattles hook) The number you want has been changed to Murray Hill 8500. , {Feebly) Do I get it? This g’man wants Murray Hill 8500. Double Exposures Conducted by J. s. W a 11 d aj Hawley drove] her new car] straight thruj a California! Iningalow the] other day,] knocking' the] family side- board into the street. .Which i just an- other ad. . for California.’, Where else,*J we ask, would [J a W a n d al Hawley drop in so informally ? New York women have started a cru-’ sade against lingerie' displays in s h o p' windows. Well, we' still have the Sen* nett comedies. Norma Talmadge] has now reached the | point where a face powder and toilet water have been named after her. Thus she achieves the artistic level of Mary Garden. {Prolonged discussion in dis- tance over merits of M urray Hill 8500. ) {Peevishly) Do I get Murray Hill 8500? Ringing it, sir. {Voice sounds on wire, editors hopes rise) Let me speak to Mr. Botsford. Who? This is Cathedral 4200? {Tears in eyes, rattles receiver) Wrong number. Get me Murray Hill 8500. Main 6500? No, no! Murray Hill 8500. Here’s your party — Plaza 8500. {After pleading with Plasa 8500 to get off wire) Wrong number again. Get me Murray Hill 8500 — M-u-r-r-a-y H-i-1-1. Ringing them. {Long pause. It is now 11:45 a. m.) What number did you say? {Inarticulate) Murray Hill 8500. Busy ! {Editor collapses under desk, mumbling Murray Hill 8500.) , It took eight hours, says the press- agent, for Director Dawley to get a horse to yawn in filming Doris Kenyon’s “Twilight.” Apparently no one thought of showing the horse Miss Kenyon’s “Street of Seven Stars.” The Tensest .Screen Moments or the Month Corinne Griffith as a modiste model in “The Girl Question.” May Allison in her gym suit' in “Peggy Does Her Darndest.”,] May Allison in her riding knickers in “Peggy Does Her" Darndest.” May Allison in her vampire gown in “Peggy Does Her Darndest.” We team ; respectfully add two members to our Gloria Swanson and Dorothy Phillips. 1919 baseball outside. Impressions Upon Entering a Screen Theater A Rainy Day First reel — Well, anyway, it’s raining Second reel — Wonder if it’s clearing? Third reel — Bet it’s clearing. Fourth reel — The sun must be shining. Fifth reel — Exit. ON We certainly admire the optimistic David Griffith in holding' the story of “The Romance of Happy Valley” as a studio secret until the release of the photoplay. There was just one leak. Back in the middle ages that very plot, minus trim- mings, originated, and it has been done at least a few timesj since. Still Mr. Griffith was quite successful. The puzzled! fans who sat just behind us when we viewed the picture con-| sider the plot a total secret. What more can we ask? The fiction of Snappy Stories hasl been secured by a producer for the movies. Thus the literary| level of the screen takes another uplift. As far as we are concerned, the artists who make the comic animated cartoons can have the job of rolling up the barbed wire in France. The Art-O-Graf Corporation signs Franklyn Farnum ml New York and takes him to Denver to star in an eight-reeler,j “The Wolves of Wall Street.” Nothing like getting the localej exactly right ! ( Sixty two) MUlSIflED i <5C0ANUT Of [^0 FOR W alcohol 3j NORM A TALMADGE “Yoo ma^uscmy trsfinuixiul to.thc value of Watkins Ml Lfif-'fit) Cocoavut Ost.*' , Ift-y^rwHsc ^TtWTS 4^^ ALICE BRADY , ‘‘I consider Watkins MuLsiFiEn I nut Oil ao ideal shampoo and can-BTusedl with such fetle effort and keeps my ha;r, iril a wonderful condition. “ MAVAinsON^K.^:^ , ‘ '‘Of all the shaihpoos I have; .c^r. Mped Watkins, Mulsipibd Coc-oanut^Oil far the st^gerior." How Famous Movie Stars Keep Their Hair Beautiful Proper Shampooing is what makes beautiful hair. It brings out all the real life, lustie, natural wave and color, and makes it soft, fresh and luxuriant. Your hair simply needs frequent and regular washing to keep it beautiful, but it cannot stand the harsh effect of ordinary soap. The free alkali, in ordinary soaps, soon dries the scalp, makes the hair brittle and ruins it. This is why leading motion i picture stars, theatrical people and discriminating women use ! WAXKINS MULSIHED COCOANUT OIL FOR SHAMPOOING I This clear, pure, and entirely greaseless product cannot possibly injure, and does not I dry the scalp or make the hair brittle no matter how often you use it. Two or three teaspoonfuls will cleanse the hair and scalp thoroughly. Simply I moisten the hair with water and rub it in. It makes an abimdance of rich, creamy , lather, which rinses out easily, removing every particle of dust, dirt, dandruff and 1 excess oil. The hair dries quickly and evenly, and has the appearance of being much I thicker and heavier than it is. It leaves the scalp soft and the hair fine and silky, I bright, fresh looking and fluffy, wavy and easy to manage. You can get WATKINS MULSIFIED COCOANUT OIL at any drug store. I A four ounce bottle should last for months. Splendid for Children. i THE R. L. WATKINS CO., Cleveland, Ohio. MAE MURRAY “Shampooing with Watkins Mulsiptbi) I CocOANUT Ou. always keqM my hair lOok [ ing its best. BLANCHE SWEET “I am pleas^ to indorse Watjuns MuLsf i pipD CoepANUT Oil for ihampooing." fiixfy -three) I MOTION PICTURE Anita Stewart “In everything from e harming French design^ to slender hilk clastic (he is perfectly exquisite. It is my favorite Veil.” The is imported from France. I'liat accounts for all its exquisite designs in ( heiiille and silk em- broidery. The silk elastic drawn through the «'dge does away with the oled bother of pinning and knotting. You just slip it on — IMPCif^TED FPOM FRANCE MK' IMPOf^TEO FROM FRANCE ^ Just Slip it on!" Vj- Do not confuse Veils with Hairnets. Accept them only in the envelope, to make sure of the money-hack giiaratitee. If your dealer cannot supply you send us his name and 50c for the 7/ V'cil Miss Stewart is wearing Pat. The Cotttpany, Inc, 213 Fourth Avenue, New York . Also Importers of ^ Human itair Nets The Stronger Vow {Continued from page 58) new husband, and afterwards” — he thrust his dreadful face closer — “after- wards you’ll stay here till I get tired of you. And now you know me, Pedro Toral, for the first time! Pedro Toral, the most powerful man in Paris, the king of the Apaches, who can at a snap of his fingers send kings tottering. Pedro Toral, who always gets what he wants, and who will get you !” She sat without moving, in a sort of hypnosis of horror. They were going to bring Juan here — force her to kill him — the man she loved! Yes, she could not deny it. She loved him — he had slain her brother, she had vowed to hate him and kill him, but very lately she had sworn to another and a stronger vow. She loved him, no matter what he had done, who he was, without reason, better than her family honor, better than her oath, better than her life itself. And they were bringing him here for her to kill him ! She sat crouched in her chair, apparently blind to what went on about her, while the taut minutes of waiting ticked themselves away. But in reality her brain was working swiftly, sifting possibilities, forming mad plans. A hand touched her shoulder. A pallid tatterdemalion, sucking at an un- lighted cigaret, stood beside her, jerking a prehensile thumb. “He’s in there. Here’s a knife.” She felt cold steel jiressed into her fingers. “If you do not kill him, others will. Strike for the heart.” Dolores clutched the stiletto and moved to the doorway, her guide at her heel. Her staring eyes were fixed upon the man who stood, bound hand and foot with ropes, in the center of the circle of wolfish faces. She felt Toral watching her greedily, and. with all her woman’s wit, she summoned an expression of rage and loathing and moved to the side of her husband. The flash of hope and joy in his eyes faded into bewilderment as she spoke cruel, bitter things, accu- sations, reproaches, invective. “You — you, who killed my brother, how dared you touch me with your crim- son hands !” She hardly knew what she said as, dagger-point pressed to his bosom, she drove him step by step back- ward across the room, nearer and nearer the stairs. At the foot of them she flashed behind him and, with two light- ning strokes of the keen blade, cut away his bonds before the watching Apaches could understand her purpose. “And now, my love, save yourself !” she cried, in a ringing tone. With a growl of rage, they were upon them, but Juan had caught her in his arms and taken the stairs three at a time. The door at the top was locked, but the one at the right opened under his des- perate hand. He flung her from him as he shot the bolt home, and turned to her, broad shoulders braced against the blows already raining on the panels. “My dear one,” he said sadly, “I am afraid our honeymoon will be into the silent land of death!” “So long as we go together what mat- 1 ters?” she whispered against his shoul-j der. “Juan, why did you kill my brother ? i I ought to hate you, but I cannot, only , why did you, zvliy?” j He frowned. “Your brother? Then ; that was he I found on the night of ihe ' carnival! There was another man, a- short, stocky fellow, strangely like that'’ Apache chief out there, bending over' him, but he fled at my approach. I tried to stanch the wound with my hanciker chief, but he was already dead. Dolores! How could you suspect me of that?” She touched his cheek. “I think I never did,” she whispered, “for I loved you even when Toral told me— Toral who tried to foist off on you his own scarlet deed !” ' A The panel ripped from top to botti.ni and an arm wielding a dagger was thrustj in. Juan drew her back and heki her close. “One last kiss, oh, my dear love— my wife!” With the shouts and blows in Iheii ears, they were alone, for one perfec moment, heart to heart, lips to lips. Then, with a rending crash, the door fell \et, strangely enough, it was not thi, wolf pack that surged in, but blue-clac' gendarmes, distributing lusty blows righ and left upon the panic-stricken Apaches! binding their hands and leading then’' away. “One of the bunch split on th rest — wanted revenge for his sister bein wronged, he told us. I think, monsieu and madame, we arrived in good tiinrt non?” I “You have given us life,” Juan D* Valera said, slowly, in a strange, fai away tone. Then, looking down into th beautiful face still held close to h breast, he gave a low laugh of pure gla( ness and kist the red, quivering lips unt they grew warm and quick again. have come back from the honeymoon ( death, my rose of Seville, my carniv flower!” he cried, a great pulse of gla(|| ness beating thru the words. “Welcon home !” GOSSIP OF THE SCREENlj (Continued from page 8.) J Vitagraph has purchased Robert VV. ChaH hers' novel, “The Cambric Mask,” for Al: .Toyce. Lieut. Earle Metcalfe, just out of the arni has been engaged to direct Paramount-Flaf comedies. i Chester VVithey is again directing Nori| Talmadge after, a siege with the influen . Miss Talmadge is filming a Russian drar , with Pedro de Cordova, Marc MbcDermc , i Marguerite Clayton and Marguerite Court in her supporting company. World Pictures will star Lewis S. Stone J i a series of eight super-pictures during n n coming twelve months. Mr. Stone is at wT i on the first, “Man’s Desire.” Roscoe (“Fatty”) Arbuckle has contracJ i to appear in Paramount comedies for th e J years more. Geraldine Farrar, following the closing f i the Metropolitan opera season, departs r ( Culver City to begin her film productions. .';|f i will continue at the Goldwyn studio u il i October. (Continued on page 65) | f Sixty-four) J J CLASSIC A Dreamer of Dreams (Continued from page 19) “Nothing comes by chance. You work and work and finally, perhaps, comes the reward.” The light of interest was in Miss Manon’s eyes. Oddly fascinating eyes they are, vividly shining out from the pale olive, immobile face. “Screen acting is hard work. But if. isn’t so hard, to my way of thinking, as being a cash girl. I could never figure out two plus two and get it right. “I dont like to do vampire roles. Because I realize that unsympathetic roles get you nowhere with the public Look at Mary Alden. A great actress, but lost in a maze of big — but unloved- characterizations. “I live a very plebeian existence in Los Angeles with my mother and brother. We have an apartment. Mother is a wonderful cook. We give little musical affairs on' Sunday nights to our friends, jrhat is about the limit of my social life. “Perhaps the sameness of it all had rather started to bore me. When I came Ito New York I resolved to live in Wash- ington Square. That lasted three days, il came uptown in a hurry — to find luxu- ries and comforts. I “I am not a Bohemian, I guess,” Miss Manon smiled. “I have three idols,” she went on. ‘Jeanne d’Arc, Napoleon and Bernhardt. [[ would give anything to be as great as [Bernhardt. I could, too, if I had it in ne to dream and work and sacrifice con- sistently. j “My name came about by chance. Vly real name, you know, is Camille \nkewich. But that I knew would lever do for a screen player. One night Ive sat watching Geraldine Farrar in The Devil Stone’ in the L.asky projec- ion-room. Miss Farrar was playing \farcia Manot. ‘There’s your name,’ said William De Mille. And so we changed Manot to Manon and I became darcia Manon. Sometimes I regret that did not retain Camille, however. I ove it, even if a great novelist did put t a bit into disrepute.” The interview was ending. “I have lot talked so much in all my New York ■tay,” concluded Miss Manon. “I have leen too confused. But I cant think of I thing to add, unless you say that I lelieve women who are too mental are a lore. And I never want to be a bore.” ~gos^~of^1ije~~sc^W~ {Continued from page 64) The Famous Players-Lasky Corporation has urchased the screen rights to J. M. Barrie’s The Admirable Crichton” and Walter Brown’s ■Everywoman.” Cecil De Mille will produce he Barrie drama. Mme. Olga Petrova is appearing in vaude- ille. Madge Kennedy has just made a flying trip ^ast to see friend husband, Captain Harold solster. ‘^Herman Polo, aged 76, father of Eddie olo, died recently in New York, following n attack of pneumonia. (Sixty-five) i IJ “They made him manager today, at a fine increase in salary. He’s the fourth man in the office to be promoted since January. And all were picked for the same reason — they had studied in spare time with the International Correspondence Schools and learned to do some one thing better than the rest of us. “I’ve thought it all out, Grace. I’m as good a man as any one of them. All I need is special training — and I’m going to get if. If the I. C. S. can raise other men’s salaries it can raise mine. If it can bring a better home with more comforts to Jim and his family it can do it for us. See this coupon? It means my start toward a better job and I’m going to r mail it to Scranton tonight !” 1 Thousands of men now know the joy of • happy, prosperous homes because they let the ! International Correspondence Schools prepare ' tliem in spare hours for bigger work and bet- I ter pay. You will find them in offices, shops, stores, mills, mines, factories, on railroads — everywhere. Why don’t you study some one thing and get ready for a real job, at a salary that will give your wife and children the things you would like them to have? You can do it! Pick the position you want in the work you like best and the I. C. S. will prepare you for it right in your own home, in your spare time — you need not lose a day or a dollar from your present occupation. Yes, you can do it! More than a million have done it in the last twenty-seven years. More than 100,000 are doing it right now. i Join them without another day’s delay. Mark i and mail this coupon ! 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For Restoring Color »ndi Beauty to Gray and Faded Hair. oOc. and SLOP at drugiristB. IN this day and age attention "to your appearance is an absolute necessity if you expect to make the most, out of life. Not only should you wish to appear as attractive, as possible^ for your own self-satisfaction, which is alone well worth your efforts, but you will find the world in general judging you greatly, if not wholly, by your “looks,” therefore it pays to “look your best’’ at all times. PER- MIT NO ONE TO SEE YOU LOOKING OTHERWISE; it will injure your wel- fare! Upon the impression you constantly make rests the failure or success of your life. Which Is to be your ultimate destiny? My new nose-shaper “Trados” (Model 24) corrects now ill-shaped noses without operation quickly, safely and per- manently. Is pleasant and does not interfere with one’s daily occupation, being wotn at night. Write today for free booklet, which toils you how to correct Ill-Shaped Noses without cost if not satisfactory. M. TRILCTY, Face Specialist, 1039 Ackerman Bldg.. Binghamton, NfY.; Wrestling Book FREE \ You can leam to be an t ivrf-ittmr at * * * I homo-*dur!ng your spare time. The book tells yo world’s marvelous undefeated champion and Frank Goto' you. Lo'.ni wrestl homahymaiL Kn-.. to learr from world champions Men and boys, here is your nity. Send fo** book today stating age t gre u t o p^ortu ni ty BMrniL^h«.of 1656 P- ..Omaha. Nob. - MW. He WiU Take The Bubble Grains, As You Know Offer a boy a dish of bread and milk, and a <]ish of Puffed ^^’^heat in milk. You know he will take, ten times in ten, these flaky, toasted bubbles. In Puffed Wheat every food cell is ex])loded. The grains are shot from guns. He gets a scientific food, where digestion is easy and complete. When children like it better — vastly better — why not serve some Puffed Grain to them in every bowl of milk. Offer Him Choice At Breakfast Serve Puffed Wheat to him, and beside it any other wheat food. He will see in Puffed Y’heat flimsy, toasted bubbles, puffed to eight times normal size. He will taste an almond flavor, much like toasted nuts. There was never a whole-wheat dish ever created which could tempt a boy like that. When Puffed Grains are best for them, and are liked best, why not always serve them? Puffed Wheat Puffed Rice Corn Puffs All Bubble Grains— Each 15c — Except in Far West How to Serve With cream and sugar. With melted butter. In bowls of milk. As ice cream garnish. In your soups. Also douse with melted butter for hungry children after school. The Quaker Qals G>n)paivy Sole Maker* MOTION PICTU'R. War and Women {Continued from page 25) now that the war has come to an eiul “Decidedly. I always have believed marriage, and more so than ever now But I hat'en’t believed that manj- mar riages arc successful, and I believe I’ve l)retty darn good theory why not. the first place, it is, or it should be. ;i j Art. Do you know the real secret I most of the failures, most of the ennui I most of the deadly boredom leading j suicidal tendfencies or — forbidden fruit I “No,” T admitted. ! " “W omen dont flirt enough after nui j riage,’’ he summed up, triumphantl I ‘-.'iud therefore men dont tr\ ejiough.” I [ committed an act of mental dige i tion. j “You .see,” he went on, in the ha serious, ratlier tentative way he ha; j “men have one instinct wdiich is strongc ; than all others — the hunting instinct, is w'hat promulgates wars, this desire conquer; it is what first leads a man the pursuit of a woman. You take tf average married man — he knozi's doesn’t have to hunt any more. On tl contrary, the game is bagged. The gan is up. Waiting. Within reach. .Sul consciously, sometimes consciously, feels cheated, defrauded. He feels lack. Therein lies the danger. I te' you, if women were only clever enoug they’d flirt . . . they’d keep a man hurt ing . . .” “But what about the sweet idealism I begged. “The tranquil domesticity, t home and all that ?” “We dont live in that sort of an age said the captain. “No doubt that is tl way things should be, but they are nc We live in a fast age, dont you thinl W^’e’ve either got to play according rule — or be cheated out of winning. 1 all hands, women as well as men, it's b^ ter to play up.” He laughed again. “I in ’wav over my head,’’ he said, with naivete of manner peculiar to him ai rather charming, “but then,” he add? “one generally is when one gets on t subject of women.” When I asked him why he was goi back to the screen in preference to t' speaking stage, he winked one eye con dentially. “I suppose I ought not to s this to you,” he said, “but the fact is need the money ! After the war know ...” “Typically American,” I mu.sed, aft he had installed me in a taxi and I w jolting homeward, “typically, oh, vt typically masculine. The battlefields war on one side, dear delightful worn on the other. Captain ‘Bob’ between two . . . actor, warrior, mere man !' y Carmel Myers has gone to San Fr cisco, chaperoned by her mother a| driving her own big Hudson .sedan. S took with her a party of young folks, this is Carmel’s first real vacation. 1 Eastern trip being more in the nature a patriotic duty, including visits to i cantonments, last year. They are tak' in all the sights of the Bay cities. I K (Sixty -six) 1 : CLASSIC Saturday to Monday {Continued from page 30) Foxcroft Grey, standing in the door- way, bowed formally to the discomfited pair. “Good-evening,” he said coldly. “I am afraid I have interrupted. I came to see Mr. Barnard about the matter of his lease, but it can wait.” He w'as turning away. Susanne ran to him and fell upon her knees, dimly conscious in the back of her mind that she had seen this done on the stage in a like situation. .She clutched his coat, spoke tragically; “No, no, Foxcroft! You shall not go until you have heard my explanation !” “I am not asking for one,” her hus- band said, still in the same painfully polite tone. “You forget our contract. By its terms I have no interest in your movements from Monday to Friday. Of course, if I were a husband in the ordi- nary sense of the word ” He glared at the shivery Arthur, who attempted to jlare back and failed miserably. “Before God I am innocent !” Susanne ivept. “Tell him so, Arthur! Tell him io, Arthur! Tell him our relations are alatonic, tell him ” Dont trouble.” Foxcroft Grey made in exquisite bow. “It is really quite un- lecessary. Until Friday, Susanne. Good- light, Barnard ! Pardon my intru- ;ion.” The door clbsed softly behind him. pusanne, still on her knees, stared after dm and burst into a shower of tears, [lot feminist tears, but large, wet ones hat dripped from the point of her nose, eddened her cheeks and made little •aths in the pink powder thereon. “There!” she sobbed, illogically, turn- ag upon^ the speechless Arthur. “See /hat you’ve done ! I hope you’re proud f yourself, breaking up my home ! Fox- roft will never forgive me — oh, oh !” Arthur Barnard reached for his mus- vche and, finding it, tugged it, and thereby -igged an idea from his reeling brain. ^ont distress yourself,” he begged er. “Mr. Grey is a gentleman. He /ill allow you to get the divorce, and I m a gentleman— I will marry you and lake an honest woman of you !” Susanne stared, then burst into hysteri- al mirth. “You !” she gasped. “Marry ouf Oh — my — God !” It was a very contrite little figure that, le next day, stole into the masculine ortals of the Bachelor’s. McCauley, listing the imitation ferns in the vesti- ule, looked up at the unhallowed sound I skirts with a scowl that changed owly to a smile as he recognized the itruder. Tis an awfu’ time I ve been having !” - confided to her, wiping his honest ■ow with the duster. “After men take the trouble to live in a place where omenfolk is forbid, it seems they break iieir necks tryin’ to see which of them in smuggle a lassie in ! Bachelors aint hat they were once, that’s sure. ’Twas illy the other day” — he warmed to> his I'levance under his auditor’s flattering terest — “Mr. Delaney, that lives over . {Continued on page 68) (Sixty-seven) imagine the thrill of hearing l^wSong fromfhe Stag6! Why don’t YOU write the Words for a Song, and submit your poem to us ? Write about Pa- triotism, Love, or any other subject. We write the music and- guarantee Publisher’s acceptance. ^ poem .written now, send it to us TO- i^AY. I here will never be too many popular songs. 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He looked up as she entered ad nodded casually. “Dont be polite — treat me as if e were married !” she quavered. Foxcroft laughed as he took the sml, twisting hands in his own. “Foolf Su.sanne!” he .said. “You dont suppie I didn’t see thru that game? And, a* way, I couldn’t be jealous of that li^ j shrimp. Now look at me, truly, could jM j “You conceited thing !” Susanne snitiH i but she smiled, like the sun coming j from behind a cloud. “Well, maybe ! cant be jealous, but I can be! So iF '“decided” — she looked up at him wit beautiful blush — “I’ve decided not tc,^ a week-end wife any longer, but an 1-J the-time wife” — her blue eyes grew emn, .she lifted her face to his kiss- long as we both shall live.” Gossip from the Pacific Coasf ^ {Contimied from page 60) IT iof LEARN Movie Acting A fascinating profession that pays big. ’Woulrt you like to know If you are adapted to t^s work . 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We overheard a great bi( conversation between those two. wee Mary, “I’m going to give mother five dollars for you, little I like you and I want to take you tcjj house to stay forever’n ever.” Francis bristled right up, his cjfn-" tassel lox fluffed up in the strong as he replied, “Dont you dare to do |||^ thing like that. My mother would d.itf you did !” ;« ?VIary was unperturbed. She seen tg have realized that money will do a deal in this world. “Yes, I will, toijl w’ant you and I’ll give your mother^ dollars for you, little boy.” jlf Francis struck an attitude worth ot the co-star of “Aladdin” and stan*d his feet angrily as he shouted, “Doni'ou dare! Dont you ever think of suia thing! Why, you’d just kill my mtier; if you tried anything like that — sheusl; cant live without me.” With that he raced off in an agre indignant frame of mind, leaving Marv looking decidedly puzzled. blyi yee.i (Sixty-eight CLASSIC Me By Myself {Continued from page 35) loubtful, but it would keep me away trom home, they thought. Tempera- nent in four rooms was like a fire- ;racker in a teacup — anything might lappen. The great day came. We started out it seven o’clock in the morning. I, clad n my Sunday best, shoes that pinched, ind the family jewels, boarded a car illed with Broadway cowboys and ex- ioubrettes, and after choking for an lOur from the smoke and dodging to- lacco juice, we reached our destination, I motley moving picture camp in the lills. It was to be an Indian picture, and ve stood in line for our costumes and vigs. Just before my turn came the wigs ;-ave out — it was just my luck! I must a/c shown my keen disappointment, for he assistant said, “Give the kid a •liance; put her in the back and keep ler in the shade.” I have often won- lered if any one was ever startled by lie sight of a blonde Indian flitting lefore them. That was the beginning. A new vista lad been opened to me. Soon I re- ceived $25 a week — it was dabbling in ugh finance. A happy year followed, then the blow jell. I had gained a little recognition is the general utility woman of a small omedy company, playing everything rom Swedish servant girls to dainty ngenues with flowing curls and all the Accepted regalia. In parts that had char- xter to them I succeeded fairly well, lut when it came to ingenues, I couldn’t inge” worth a cent. That started rouble and ended in my being fired. I had tried to skip gracefully around nd smile winsomely, but I was never nore awkward in my life, and my smiles wful caricatures of anything human, 'he director was plainly losing patience. Ve came to the place in the story where ,iy sweetheart and I climbed in a tree to ide from my pursuing parents. We had :o sooner .settled overselves comfortably n a bough, when it came crashing to the round. When my senses had sufficiently ecovered, I found myself, profession- lly speaking, at liberty. “At liberty” was putting it mildly— I >as just plain loose. After a few weeks f hunting a position I looked for a job. -ven those were very will-o’-the-wispy. tried every place I had ever heard of, xcept the Keystone. Somehow it fright- ned me. Every one said, “Keep away rom that place if you value your life.” didn’t think much of mine, but I wasn’t razy about having it banged out by a rick or policeman’s club. Things got worse and worse, and one ay, in desperation, I .set forth for the :ridio of bricks, bruises and bumps. It as a very mild-looking little place at the pot of peaceful hills. I was just laugh- jg’ at myself for my foolish fears when patrol full of cops came tearing from ' “'ide entrance, clubs and guns in hand. I I (Sixty-nine) One look was enough. I made for home ! I went there every day for a week be- fore I had courage to ask for work. On the eighth I walked meekly up to a fierce-eyed individual, who later turned out to be Mack Swain. “Was he using any people today?” “Can you shoot a gun?” he roared back. Could I shoot, a gun? I hadn’t worked in a Western studio for a year for nothing. I should say I could — with out batting an eye. He eyed me up and down. “All right, come as you are, only take that Christ- mas-tree off your head and wear some- thing human.” I had always admired that particular hat, but to work again I would have worn a mud scow. That was an eventful day for me. We were taken out to the park, but after waiting around for hours, my turn came. It was my chance. Gun in hand, I waited for orders, my heart doing a fan- dango in my throat. “All right, camera!” yelled the director. Somebody — I think it was me — ^rushed forward. “Shoot !” somebody yelled. I shot. “Shoot again !” I exploded all the remaining chambers. “Good!” a strange voice called. “Take a fall !” I grew cold, but kept working. Such an indignity had never before fallen to my lot. “Take a fall!” The voice was now a .shriek. It was now or never. Somehow I threw my feet into the air, hurled myself forward and hit. They were laughing — was it with me or at me ? Anyway, I’d done my best. If this failed, it was the “want ads” for me. “All right, miss. That’s all for today. Eight-thirty in the morning, please.” I couldn’t wait for a car and ran all the way home. Almost strangled myself on water, so couldn’t tell the wonderful news for an hour, anyway. I must have been up half the night making faces at myself in the mirror ami practicing falls. When morning came I was a little the worse for wear, but happy. I made the call, and it’s been eight- thirty every morning since. I did have, a few faint yearnings to- ward drama, but have reconciled myself with the thought that every one has a hard luck story and to create smiles was worth any sort of sacrifice. Serial comedy is my ambition. Clown- ing and buffoonery are for children. Little humorous accidents that can hap- pen in everyday life are the real laugh- getters. If your audience put themselves in your place, you are accomplishing something. Personality and thought photograph, and to get laughs you must feel them your.selves, not mechanically portray a character because you are told. I have gotten over the childhood aches of plainness and realize that to be happy one must be busy, and as long as I rant be any one else, it isn’t so bad ir be me. 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Blue=jay The Scientific Com Ender Stops Pain Instantly — Ends Corns Completely 25 Cents — At Druggists iiilii BAUER & BLACK, Chicago, New York, Toronto Makers of Sterile Surgical Dressings and Allied Products Earle and His Ambitions (Contuiucd from payc 37 ) “Xow, I recently did an I'-nglisl story, and right on top of tliat they jan cliased another for me— same locatioi I dont want to do it right after the othe because I’m afraid f will have would-h ])laywrights concocting English sociel dramas for me by the score. ‘■I’m afraid the law of suggestion is : work. 1 wish I knew how to break tl telepathic cords. I’m as fond of \ariei as any onlooker, but it does seem as they tried to tie me uji in the ‘three of kind’ dramas. I began to do a stoi back I'.ast which followed one miu like it, shot last year. According! when T came out here, 1 drop[)ed tl work, and what do you suppose? tl just got word from the h'.ast, asking if could not possibly finish the old sto and rush it thru, .‘so as T dont want be disobliging, Eve succumbed to law of sameness once more. “Now, titles are queer things,’’ sa Mr. Williams, reflectively. “For i stance, I finished a ]ilay near Coronai in which the (Government aided consi erably. That is one reason we were sic in finishing it. for we had to await t convenience of aviators and others the service, and the working title w ‘The Ace,’ which naturally would le people to expect a military play. Ho ever, the title has been changed to ‘T Highest Trump,’ and I very much fe that people who abhor cards and w haven’t any idea that the highest trurl is an ace may be deterred from seeij this drama. “The funny thing is that about a yi ago, when I first came out, everybo said eagerly to me, ‘Well, how do y like our State?’ I said one day, ‘C State? Where did you come fron The lady answered, ‘Oh, I left Mas chusetts nine years ago ; this is my St now.’ I said. ‘It would be more app priate to call it my State than yours, T I was born in Sacramento and I c, tainly do belong to California.’ I w eventually to live in the country out he! T love the life of a countr)'^ squire, dont mean away back from the railn or electric cars, but country enough give one lots of ground about the ho and a place to keep a few animals, seems to me that the ideal way to liv( to be within motoring distance of to and yet far enough away from busir' and city noi.ses to have it called ‘coun. by one’s friends.’’ Outside stood the classy special H son speedster which is Mr. Williams’ steed. Not a car at the recent auto sl^ in Los Angeles could compete with I’ve been told. The telephone bell r and our twilight musings were sudd( interrupted. Mr. Williams retur .smiling. “Mrs. Williams just wondered if ^ had finished our chat,” he said, polit “I have promised to call for her s friend’s home, so unless you can thinl| anything else you want to ask, I tl I’d better go after her — at once.” (Seventy) CLASSIC The March of the Photoplay (Cominued from page 17) they seem mere comments and interjec- tions. The story is always arranged so as to flow as much as possible without their help. The whole effect may be melodramatic, because the stories are violent and the method pushed to ex- tremes. But the Sullivan dramaturgy is, after all, not unlike the Ibsen dramaturgy in its definite, tight structure. Perhaps Henry Bernstein, building on Ibsen, is the best parallel. To keep up what may be extreme com- parisons, the other distinctive school of the photoplay, which grew up beside Ince in the studio of Griffith, is in the Haupt- mann vein of naturalism. The master himself. Frank Woods, and the directors like Allan Dwan, were largely respon- sible for it. Jolin Emerson and Anita Loos, for all their individual flavor, are products of it. Whatever we see today that bears the initials “D. G.” or has passed thru the hands of one of Grif- fith’s old directors, has that priceless quality of naturalness and humanness which, as an end, is worth all of Sulli- van’s splendid theatricalism. You may wonder, however, if the plausible reality of a picture of the Griffith school couldn’t be got by a little neater work, a little less waste of space, a little less tendency to ramble. So far as Griffith himself goes, [ have to confess that I am very tired ndeed of the one piece of theatrical jnechanism — the rescue by some form of bhase — which he has lugged into every oicture since “The Birth of a Nation’’ to ,jet that sure-fire pep which Sullivan gets )y a careful and workmanlike develop- nent of whatever plot he has in hand, .n spite of valiant belief in humanness, [ begin to think I prefer Sullivan. At liny rate, Sullivan’s methods can be used or Griffith’s ends. Of course, there are other schools, or lit any rate, classes, in the development ff the photoplay. The propaganda play, rom Eustace Hale Ball’s “Traffic in Souls’’ to the late.st products of Lois vVeber, is not to be sniffed at. Mack fiennett and Hamilton Del Ruth have ontributed a distinct method of their iwn. As for Chaplin — well, who wants 0 see a better screen story, better told, han "Easy Street”? There has even liieen a school which might better be de- cribed as an academy — a five-foot shelf f the world’s classics — an Encyclopedia Iritannica of stories. I mean the prod- cts of Paramount during its first four ears. Since Griffith and Ince joined the Uyrmidons of Zukor and Lasky, things Lre different and better. But what a lltrange collection of famous novels and lays and Broadway failures the Para- lounters gave us to match against the riginal and screen-wise products of the Id Triangle ! They began with yarns lat didn’t fit the screen, and they told lem with continuities that seemed to ave no conception at all of screen pos- bilities. They did one splendid thing, pwever. They demonstrated the ab- ■xrdity of taking stories as shaped by (Seventy-one) the needs of other mediums instead of going to the root of the stories them- selves— human beings. There ought to be a law against the screening of plays and a severe penalty for any continuity writer- who doesn’t throw overboard three-fifths of every novel. If we had seen to it these last five years, where might the prodigious art of the photoplay not be today ? Just where the credit for a screen progress belongs is always more difficult to say than where the blame ought to rest. It is easy to .sec that if a scenario editor starts by buying a stujiid play, his co-laborers are never going to be able to make it into a good photoplay. But when a really decent product is on the screen, it isn’t so easy to determine just who did the trick. Aside from acting and lighting and photography, the genius in the treatment of the story may lodge in at least five places — or, as is more likely, in a single dominating one. There may be a good plot to begin with — maybe an original, maybe the leav ■ ings of a novel. Then there is the synop- sis. At that point a writer may vastly enrich a story, give new directions to it and supply all .sorts of valuable sugges- tions. Next, the continuity. If the con- tinuity is bad, it can ruin evei’}'thing that has gone before. If it is good, it can almost remake a story by its utilization of minor possibilities of action. After that the director can enrich the continuity or ruin it. Finally, along comes the film editor to spoil the work of all four or to salvage an almost hopeless production. The recipe with Ince seems to have been a dominating personality, always in- tensively but creatively critical, sur- rounded by men of first-class ability, who react to that dominating personality and stand out by that reaction. Griffith seems to be more a great personality that never bothers to have very much to dominate. He does the whole job himself. Film editing, directing and continuity writing are his regular tasks, as those who have read of his making of “The Birth of a Nation” know. But it is further true that Griffith is frequently the creator of the idea, the builder of the synopsis. There was once a certain “Granville Warwick,” unknown to studio directors but promi- nent on the credit titles of many Triangle productions. Not infrequently the sce- narios he wrote bore interesting resem- blance to earlier yarns, yarns from the old Biograph knitting-bag. There was “Diane of the Follies,” for instance — just “Oil and Water” done over. When David Wark Griffith dropped out of Triangle, “Warwick’’ dropped with him. And until Griffith came back from Eu- rope, “Warwick” was silent. Just the other day he turned up as author of Griffith’s “Greatest Thing in the World.” Perhaps he is a relative of the mysterious Monsieur Ga.ston de Tolignac, who has been “suggesting” or “conceiving” other European-born Griffith products. 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We gladly send it facte about the Feuchtlngror free, postage prepaid. Meth^. Have put X oppoiito Justmail thecoupon.y^ Perfect Voice 0 Q Stammering Q Lisping Institute . r Name Addreee., MOTION PICTURE CLASSIC WRITERS FREE BOOK! A WONDERFUL BOOK -READ ABOUT IT! Tells how easily Stories anti Plays are conceived, written, perfected, sold. How many who don’t DREAM they can write, suddenly find it out. How the Scenario Kings and the Story Queens live and work. How bright men and women, without any special experience, learn to their own amazement that their simplest Ideas may furnish brilliant plots for Plays and Stories. How your own imagination may provide an endless gold mine of Ideas that will bring you Happy Success and Handsome Cash Royalties. How hew writers get their names into print. How to tell if you ARE a writer. How to deveiop your “story fancy,’’ weave clever w'ord - pictures and unique, thrilling, realistic plot.“. How your friends may be your worst judges. 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Its (listbictively natural, mellow touo.s 1)i'ought so soothingly to vour ear, will A.STOI'ND YOU. Our booklet “HOW DEAFNESS IS AIDED,” is yours for the asking. Write for your copy today. Or call for booklet, free demonstration and advice. THE PORT-O-PHONE CORPORATION 1929 Broadway, New York City Canadian Offices: 514 New Birks Building, Montreal Living Down the Name of Percy — {Continued from page 31) And enthusiastic. We were armed, fore-armed, with the facts that Mr. Marmont was a Londoner and that he had but just toured the world. Also that he was stopping over in New York longer than he had anticipated. “Why” — we asked. “I got aw’fly interested in the movies,” Mr. Marmont rather tactfully replied, “and tliey then wanted me for ‘The In- visible Foe’ — and, all told, it was so jolly interesting, so jolly hospitable, dont you know ...” We “shot” a few more inquiries, such as. “Were you born right in London?” “Indeed, yes. Born and bred there. In the part of London that would corre- spond to iqitown here in New York. I’m a cockney, you know, a genuine cockney. Pure cockney. The streets of London ... all my childhood and youth were •4pent there.” “An actor? You were destined for that?” “Not by my parents. Oh, no! I was educated for the bar. Studied for the bar. And I was most wretchedly un- happy in the work. I shall never forget i'lst how unhappy I was. I hated the life. Hated the confinement. It was all so colorless to me. Then — well, I had a fi'iend, the proverbial friend, who was connected with the stage. He offered to give me a chance. I — ran away.” \\Y thought, there in the dimming office, that we could vision it all . . . the fall, pale, eager youth bent, unwillingly, over the musty, fusty law-books . . . staring past them . . . beyond them . . . to a land of chameleon scenes ... to the art that beckoned him with a myriad mystic tongues. Law makes a dingy thing for such an one. “Stock first,” Percy was saying, in his light, pleasant voice, ‘‘a great many of them London plays which never reached here. Then came this trip about the world. We played every sort of a play, even to ‘East Lynne’ and ‘Lorna Doone.’ We played in the farthermost corners of the earth. Afidcan veldt, in the Austra- lian bush, in all the cities, great and small. We were chased by a German submarine, we had all manner of adven- ture. It was quite tremendous. It is amazing how keen Africa is about the stage. Johannesburg is quite, quite mod- ern. Very New Yorkish. Well, then, .\merica. I had no idea of remaining here. It was simply en route.” “What of America ?” I suggested. “What do you think of it? Do you like it, or the reverse ? What of New York ?” “I am quite mad about it,” said Percy, “quite. The West is stupendous. I cant get it into my head. I never imagined such vastness (pronounced ‘varstness’) . I was totally unprepared for the West. New York is much as I imagined. Not so different from London. Except, per- haps, down about Wall Street. There it is unbelievable in its energy. When I am down there I feel like saying, ‘Oh, stop, please stop, just for an instant. It is too much!’ ” “The American girls?’’ I interpolated, tentatively. “Comparatively, I mean.” Percy laughed and lit a cigaret and | said: “Aren’t girls the same — every- zvhere?” “.ire they?” J “Pretty much so. Nice. Just girls. I Comparatively . . . well, the New York girl is different from the English girl chiefly in that she has more ‘pep’ and much more sophistication. I think the cafe life probably makes for that — the getting away from the family earlier, too. Then the American girls are more consciously independent, rather morel effete, dont you know ? Strange, too, that it should be so in a country so much newer, so much younger. But I suspecti that is a great deal surface . . . they arei really very young, your American girls, and wholly delightful. Cf course, I have had experience only with the people in the profession. I found Miss Fergu-^ son absolutely delightful — oh, absolutely.”! Nice response. I asked him where he had elected tO; live, coming here a stranger to a strange i land. He said Long Island. Bayside, J believe, or Bayshore, or Bay something' or other. i He said that he had moved to Longi Island that he might have a garden. ‘‘If has been one of my dreams,” he said? He added, “But I haven’t had the timei Cne doesn’t have much of that here ir^ America.” “You are married,” I asserted. ' “What should I answer?” he laughed i “The truth, of course,” with severity i “Well, then, yes. Yes, I am.” “I knew it.” He elevated his facile eyebrows. “Because,” I enlightened him, “other i wise you would not be living suburbanly:' on Long Island.” “The garden ” he reminded me._ “You haven’t it.” ' Ii “Caught !” he laughed. ' He has a charming accent, English which we all know, but somehow dis tinctly delightful. He thinks zve liavi an accent, too, which is. quite amusing-| to us. He said when he first got here h; used to love to sit back in his chffir an' say to people, “Ch, please go on an talk. I want to listen.” I “I feel especially proud of an' achievements of my own,” he said, i! conclusion, “because I was born wit such a frightful handicap — or nearli so.” , My interest was intrigued, to state th case mildly. What I didn’t imagine! ■ It s hardly fair, Percy was pursuinj behind spirals of smoke, “to handicap | chap so early. But I was. I dont kno' that I can ever quite forgive my parent |, They named me Percy. Percy, concei\ of it ! Do you think I can ever live ; down ? Do you ?” , “No,” I said, and rose to go. jl His face fell. There was a disiu ■ silence. ‘I “You already have,” I said; “it mu ■ have been awful— but you’ve done it!” H ( Scvcvly-ticaj ifl How “Silent Simms” Became a Master of Speech :ire exasperuling beyond I words," sliot out Air. Worden. "Why didn’t you keep Air. Truesdale here? You knew I would he back in ten minutes.” Harry Simms gulped hard, and replied weakly, "I did try to keep him here, Air. Worden, hut he wouldn't stay." "What? W'ouldn’t stay even ten min- utes? Why, you could have kept him that long without his realizing it. Why didn’t you talk to him about the weather, tibout peace, about the price of potatoes, about anything?’’ This wasn’t the first calling down I had heard Simms get. He had been with the firm for eight years and had reached the point where he was as much a fi.xture around the office as the desk or the chairs. He was a slow-going, steady plugger, earning $40 a week. He managed to keep busy in the Sales Department, keep- ing records of salesmen’s reports. No one around the office seemed to notice him. He was so quiet that the only idlings that would start him talking w'ere puch momentous events as the beginning of the war or the end of the war. Even ivhen his baby was horn, Harry said only hree words — "It’s a boy." It wasn’t long before we nicknamed Iiim ‘.'silent Simms.”. \ ct the ‘‘Silent Simm.s” of two years ago is low oiir Sales Manager, regarded as one of the nost brilliant men in our organization, getting in annual salary that runs close to five figures, itid is slated for the vice-presidency ! ^ How all this happened in so short a time iiakes one of the most rcmarkahle stories of access I have ever heard. But let Harry tell he story as he told it tcj me when 1 asked him iioint-hlank what sort of magic he used in ransforming himself. ‘‘Well,” said Harry, “son remember when Ir. Truesdale came in that day and I could ot hold him for ten minutes until the Chief ot back? And when the Chief came back and ound Truesdale gone, how he bawled me out! hat incident marked the turning point of )ny fc. I made up m\' mind that I was going to ve down the nickname of ‘Silent Simms,’ that ' ad fastened itself upon me to a point where 1 ardly spoke to my wife. I was just afraid. : had almost forgotten how to use my tongue. I I'erhaps I got that waj' because every time I I pened my mouth I ‘put my foot in it.’ I was >(lways getting in wrong. I would give instruc- I ons and then have to spend twenty minutes rying to explain them. I would dictate a letter I id then have to write five more to explain the ! |rst one. I would try to explain an idea to . le Chief and would get so flustered tha' ’ I ptildn’t make myself understood at all. In ir* i 'icial life I became almost a hermit. 'We nev. y lent out because I was like a sphinx among ; ‘ople. I was the best listener you ever saw t jid the worst talker. ! “W ell, when the Chief called me down that ( Seventy-three) By MARTIN M. BYRON d;i\ it was the ‘straw that liroke the camel’s b.ack.’ It was the most humiliating experience I e\ er went through. 1 had been with the firm 8 \ ears — was getting $-K) a week — and was the office ‘football.’ I went home that night de- termined to learn how to talk coinincingly, in- terest ingle, and forcibly, so that 1 could hold Iteople spellbound, not only for 10 minutes, but by the hour. Xo more of the silent stuff for me, 1 had no more idea of how to do it than I haw of how to jump across the ocean, but 1 knew that 1 wanted to do it, and I knew that 1 would never get anywhere until I did do it. It took a shock to make me realize what it was that was holding me dcjwn to the grind of detail work, but when I finally realized wh\ I was called ‘Silent Simms’ I began to inve.sti- gatc all that had been written on the subject of talking. I did not want to become a public speaker — what I wanted was the ability to talk as a business asset. I bought numberless hooks on public speaking, but they all taught oratory, and were so complicated that I gave up almost in discouragement. I continued my search, however, and was rewarded a few weeks later by hearing about the work of Dr. Frederick Houk Law’ of New' York University, w’ho was conducting a course in business talking and public speaking. ‘‘You may be sure that I lost no time in at- tending the lectures. I w'cnt after them as eagerlj as a hungry wolf goes after food. To ms- great surprise and pleasure I grasped the secret of being a convincing talker — ^the secret I had needed all my life — almost in the first lesson. ‘‘.Mmost at once I learned why I was afraid to stand up and talk to others. I learned how- to talk to a number of people at the same time. 1 learned how to make people listen to ever\ word I said. I learned how to say things in- terestingly, forcibly and convincingly. I learned how to listen while others talked. I learned how to say exactly what I meant. I learned when to he humorous with telling effect, and how to avoid being humorous at the wrong- time. “More important than these vital funda- mentals were the actual examples - of what things to say and when to say them to n-ieet every condition. 1 found that there was a knack in making reports to m> superiors. I found that there was a right and wrong way to make complaints, to answer complaints, to gi\e estimates, to issue orders, to give opin- ions, to bring ])eople around to my way of thinking without antagonizing them, and about how to ask banks for a loan. Then, of course, there were also lessons on speaking before lar.ge audiences, ad\-ice on how to find mate- rial for talking- and speaking, actual rules on how to talk to friends, to servants, aiul even to children. ‘‘And the whole thing was so simple that in a single evening I learned the secrets that turned me into a \-ery dynamo of ambition. 1 knew that I had at last found the road to Mastery of Speech. I began to apply the principles at once, and found that my words were electrif,\ ing people. 1 began to get things done. 1 began to put a new kind of ginger into my letters, into my memoranda, into my talks -with customers, and with people in the office. In a little three minute talk with the Chief I nearly floored him with some ideas that had been in my mind for years, but which I had always been afraid to mention. It wasn’t lon.g before I was taken off my old desk and put at the city salesman’s desk. Yon know how- 1 made good. Seems almost like a dream now. Then, a short time later. I was given Roger's job on the road, in the hardest territory w-e have. -\nd when 1 began to break recorcL there the Chief wired me to come back and gave me Morgan’s job as the sales manager when Morgan was put in charge of the Seattle office. "This great change came over me simplj as a result of my having learned how to talk. I imagine there are thousands of others w ho are in the same boat in which I found myself and who could become big money-makers if the> only learned the secret of being a convincing- talker.” W hen Harry Simms finished, I asked him if I could not have the benefit of Dr. Law’s Course and he told me that only recently Dr. Law had prepared a complete course in printed form which contained exactly the same in- structions as he had given in his lectures. 1 sent for it and found it to be exactly as he stated. After studying the eight simple lessons I began to realize that Simms’ successs was the natural outcome of real ability to talk, for m\- own success with the Course has been as great as his. I can never thank Simms enough for telling me about Dr. Law’s Course in Business Talking and Public Speaking. SEND NO MONEY So confident is The Independent Corpora- tion, publishers of ‘‘Mastery of Speech.” Dr. Law’s Course iu Business Talking and Pul)lic Speaking, that once you have an opportunity to sec in your own home how you can, in one hour, learn the secret of speaking and how you can apply the principles of effective speech under all conditions, that they are willing to send you the Course on free examination. Don’t send any money. Merely mail the coupon or write a letter and the complete Course will he sent, all charges prepaid, at onc('. If yon are not entirely satisfied send it back at any time within five days after you re- ceive it and you w’ill owe nothing. On the other hand, if i'ou are as pleased as are the thousands of other men and women who ha\e used the Course, send only $5 in full payment. You take uo risk and you have e\erythin,g to gain, so mail the coupon now before this remarkable offer is withdrawn. FREE EXAMINATION COUPON Independent Corporation Publishers of The Independent Weekly Dept. L.575, 119 W.;40tli St., New York Please send me Dr. Frederick Houk Law’s “Mastery of Speech, “ a Course in Business Talking and Public Speaking in eight lessons. I will cither rernail the C'oiirse to you within five days after its receipt, or send you $5. 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Broadway and Wall St., New York City MOTION PICTURE CLASSIC A Daniels Come to Judgment {Continued from page 43) can always train a strong characteristi( and make it useful, if you know how,’ and Bebe nodded sagely, “but' if yoi iiaven’t any ’will, it’s awfully hard to ac- c[uire it. You certainly never can.achievt your ambitions in these days of stres: and obstacles unless you do have will and you’ve got to show a temper some times or people will think you are a foot- scraper.’’ ' “Listen to Bebe talk ! That’s what j call preaching without practice,” interi rupted the pretty, blonde Stella. “Yoi never see her around here with anything even approaching a mental storm-cloud ^nd she’s, been here two and a half year; at that.” "Oh, that’s because everybody arounj here is so nice to me,” replied Mifi Daniels, modestly. “But you’d havi laughed at that ‘Ambition’ speech ; i really drew forth lots of applause, am mother said, as we drove away — really i was sort of insulting — mother said, ‘Bebe I didn’t know you had it in you.’ Am on the way into Los Angeles I had h learn a new song, three verses and ; chorus. You can imagine what an ex citing evening that was for me.” “What do you sing. Miss Daniels- soprano ?’’ “Oh. no; f sing — everything,” said th young lady, with an all-inclusive swee of two lovely bare arms, over whic trickled a little cream-lace fashioned int harem-angel sleeves, dotted with lavende sequins. “I sing by ear, and I can b soprano, contralto or alto at will, really began as a soprano, but a teache misplaced my voice, and I-dont suppos I use it correctly at all now. But I ar just lucky — or else the public likes m up-to-date songs.” Bebe Daniels has lots of loving-cup: trophies won at dancing contests. Sh began at eight years of age to dance hf way to public favor and has an enviabl reputation in Los Angeles now. “Do you intend to remain in corned; Miss Daniels ?” Everybody loves to de; in futures at some time. “My contract expires in June of th year. I cant say what I ' will do, bi probably I’ll remain with Pathe an switch over to drama. I like straigl parts, and I’ve had so many years’ e: perience on the stage that it would I very pleasant to turn away from ligl comedy to something heavier, more sati fying to one’s soul.” There was a pause, during which Bel teased her bobbed lox. The famili: cascade over one side of her forehei and puffs over the ears were accor plished with a puckering of delicate ey brows. “Luncheon, Bebe,” chirped a mer: voice in the hall. “Coming!” warbled Bebe, in her be soprano. ! And we all did the “Where is now tb merry party I remember long ago?” af Retakes and luncheon wait for no man-f or woman, either — at a studio. « (Seventy-four)^ The Latest ‘Blackton’ Production, “A House Divided” might also be called “A House Beautiful” The Story — Gripping The Cast — Exceptional Interior Settings — Superlative Pictures with the mark of ‘Blackton’ are worth while 25 W. 45th St., N. Y.C. Studio, 423 Classon Ave., Bkly ( Seventy-five ) A Typical 'Blackton' Set GIRLS! 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Try a 35 cent bottle at drug stores or toilet counters. The Boys^ Magazine — FREE! Send to-day for a free sample copy. Splendid stories — beautiful illustrations — handsome covers in colors. Address The Scott F. Kedfleld Co., 2807 Main St., Smethport, Pa. In Pursuit of Billie {Continued from page 23) of imported pongee. There were others . . . others . . . each more attractive than the ones before, and each, with all their wealth of style, not half as delight- ful as they were going to be when graced by and gracing their adorable mistress. Then, at last, came Billie Burke. “Well,” (after the introductions and ex- cused excuses), “I’ve had a time of it today.” She smiled and dropped into a chair. “Getting clothes for baby ! You’d think the shops would consider the wardrobe of infants. But they dont. “Which reminds me,” said Billie, con- sulting her platinum wrist-watch, “that it is time to telephone my sweetie. Every day, when I am in town, we kiss each other good-night over the wire.” She gave central her number and turned to madame, saying, “Tell the lady, dear, what a child is Florence Patricia. Imagine ! Only two years old and . . . Oh ! Hello ! Will you let me speak to baby, please? “Good-evening, sweetheart! What? ‘Baby’s o’weddy to go Palm Beach’ ? Is ooh, darlin’ ? Tell mamma, baby happy? ‘Baby’s werry happy 1’ Yes, sweetheart ; mamma’s very happy, too. Mamma bought baby lovely pair of white gloves today. What, darling? ‘Baby mus’ go wash her hands and go to sleep’ ? All right, precious. Here’s my kiss . . . m-m-m-m-m . . . nice and long. Nighty- night I “That,” she confided, turning to me with joyous dampness in her eyes, “is my land of promise. I love her so. I love them all so. Baby, mother, the home, the chickens, and dear, kind Flo. Why, I can hardly realize it, that this week is my marriage anniversary of five years. Five ? No, it cant be! It must be four. It is impossible to have time fly so rapidly. Why, it seems like yesterday that I had no one to think of but myself. Five? Oh, dear me, at any rate they’ve been five wonders. “You have no idea how a woman grows — spiritually, mentally and in every other way — when she has some one to whom she can give her love and her thoughts. Some one for whom she wants to strive and go on working so that she can be worthy of the respect due her from one she is capable of worshiping. “Flo is a wonderful man. It puzzles me often how anybody so stacked with work and so busy with ideas can, day in and day out, time and time incessantly, make it a habit to please everybody the way he does. I have never known him not to pay attention to the thousands of trivialities strangers and subordinates are continually bringing up before him. Flo, as far back as I or any of his asso- ciates can remember, has never been known to refuse a request. And the phenomenal part of it all is that he keeps every one of his worries and problems to himself. If he is nervous, he is fretful inwardly. His temper, when it does do harm, he allows only to hurt Flo. “We really did not have to go to iiiiiiiiiiiiniiitiniiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiii Treat Yourself in Nature’s Way Right in Your Own Home Enjoy the keen zest of living that comes with braced nerves and pulsing blood which puts sparkle into the eyes, color in the cheeks, and gives the beauty of face and figure that reflects bounding health; drive out pain as by magic. The Therapeutic White Rays of the Sterling Pain Relieving Lamp are a scientific adaptation of the marvelous healing properties of the sun’s rays. The warm, soothing, soft, white rays pene- trate and vitalize every cell and tissue; new cell growth is stimulated; the body is refreshed and vitalized. It brings you clear unblemished skin, rose-tinted cheeks, bright eyes; quickens the slug- gish blood, rebuilds firm new muscle, and clear new skin. Beauty and massage par- lors throughout the country charge sev- eral dollars for a few minutes treatment that you can now enjoy in your own home for a few cents with the Sterling Pain Relieving Lamp. “The Light That Heals** Relieves pain without destroying vitality. Abso- lutely safe; no vibration, shock or pain. Does away with use of harmful drugs. Relief from pain results the moment you snap the electric switch. Rheumatism, neuralgia, sore throat, earache, goitre, headache, and innumerable other ailments, as well as nervous conditions are instantly eased and re- lieved. Invaluable in the treatment of skin diseases. Physicians endorse and recommend Therapeutic Light to you. Health — Beauty — Power Nothing vague or mystic in the use of the Sterling Lamp. Our free book tells you of its uses ana many benefits— deals with the simple fundamental laws of health and beauty. Tells you how to treat yourself and find relief from pains and ail- ments and awaken your energy ; how others in hospitals, sanitariums and thousands of private homes have found relief and benefited. 1' Send Coupon for Free Book telling of this marvelous Thera- peutic Lamp and how you can recedve its benefits. Don't suffer headaches and other pains need- lessly— let Nature and Science help you to health, beauty and greater vitality. STERLING PAIN RELIEVING LAMP CO. Dept. 10 546 Garfield Ave., Chicago, ID. USh THIS coupoal STERLING PAIN RELIEVING LAMP CO.. Dept. 10, 546 Garfield Ave., Chicago, Illinois. Please send me, without cost or obligation, your fully lllui trated booklet describing the Sterling Therapeutic Lamp, uses and benefits. 4 ,1 Name. Street & No. City State. i (Seventy-six) motion picture classic I Florida this year. The weather in New York has been so mild. We have had I no winter at all. And the baby prac- ' tically lives in the country at home. But Flo, who is always looking out for other I people, despite the business that presses him in town and the two Frolics that he has to take care of and the new spring I Follies which he ought to begin to plan, I insisted upon taking us all away from, as he terms it, the devastation of thaw. “Oh, is he a ‘home’ man ? Well, that’s Flo all over! He just loves his fireside and little Princess Pat. The only thing that bothers him now are the pangs of jealousy he is going to feel when she grows up. How we laughed the other night, when he told us that at the table I He says he is frightened at how he will act towards her beaux — for the sake of the beaux ! But one thing that the two of us have already decided is that, if Pat wants to sing, she can sing. If Pat wants to write or paint or compose, she can. And certainly, if Pat cares for the stage, I am not going to combat with her the way my folks did with me. And whatever she does care for we are going to train her to be good at. For the thing I most disapprove of in planning the future is that our Pat will grow up to do nothing.” The Endowed Photoplay {Continued from page 26) A center of film production, suggests Mr. Lindsay, could be established at some central point, as Columbia Uni- versity. The various branches would see to the distribution and presentation of the productions. Thus would an avenue of advance be opened to the photoplay — and the scena- rio writer. Mr. Lindsay calls attention to the fact that grand opera and orchestral music are largely endowed in this country. “These endowed arts,” says Mr. Lind- say, “have an influence upon commercial art; they mellow it and raise its stand- ard.” The national taste in music has ad- vanced because of endowed opera, says Mr. Lindsay, and he points to the propa- ganda work of the popular and commer- cial phonograph, dependent upon the privately endowed opera. The artistic dignity of pictures will only be realized when the endowed pho- toplays arrive, predicts the poet-critic. “There is no mellower in the moving picture business, and what it needs is a mellower. A moving picture institution, endowed as is grand opera, would mod- ify the unmitigated commercial field. “The perfect photoplay,” Mr. Lindsay said, in conclusion, “will use its own alphabet and not depend upon the Eng- lish language. The presence of subtitles in the photoplays of today is evidence that the moving picture has not yet de- veloped this alphabet to the point where it can meet all requirements, but I pre- dict that the screen in time will cease to lean upon written words.” Eat 30 lbs. Daily If You Live On Vegetables Vegetables are good foods and necessary. But the kinds we picture average about 100 calories per pound in energy value. And the average person needs 3,000 calories per day. Fish is good food, but fresh fish averages 300 calories per pound. You would need 10 pounds per day. Quaker Oats yields 1,810 calories per pound. You would need 1 % pounds of that. This is what 3,000 calories cost at this writing in some necessary foods : Cost of 3,000 Calories In Quaker Oats - - $0.15 In Round Steak - - - - 1.23 In Veal Cutlets - - 1.71 In Blue Points - - 7.50 In Average Fish - - - - 1.80 In Salt Codfish - 2.34 In Squash 2.25 In Canned Peas - - 1.62 a The Flavory Flakes Eat a mixed diet, but consider what Quaker Oats means in your break- fast. It costs one-half cent per dish. It costs one-tenth what meat or fish costs for the same energy value. Each 30-cent package served in place of meats saves at least $3. In the oat you get supreme food — the greatest food that grows. Y^ou get almost a complete food — the nearly ideal food. You get a food with age-old fame as a builder of body and brain. And you get the most delightful flavor which Nature confers on grain. One reason for high cost of living is too little use of oats. Prices Reduced to 12c and 30c a Package Except in the Far W^est and South Packed in Sealed Round Packages with Removable Cover (3054) (Seventy-seven) are a cloud before the sun” hiding: your brightnefis, your beauty. Why not remove them? Dout delay. Use STILLMAN’S Made especially to remove freckles. Leaves the skin clear, smooth and without a blemish. Pre- pared by specialists with years of experience. Money refunded if not satisfactory. 50c per jar. Write today for particulars and free booklet, “Wouldsl Thou Be Fair” Contains many beauty hints, and de- scribes a number of elegant prepara- tions indispensable to the toilet. Sold by all druygiata. STILT.MAN CREAM CO I>ept. 3 Aurora. Ill MUSIC TAUGHT FREE So» can M-eui Ttltuic IMiiht quuMi)' IN YOUR OWN HOME PtamOv Orffai&t 'Violin^ Afandolln, Oaltar» Ban1o» etc* Beginnem or advanced players. One lesson weekly. Illustrations make every- thing plain. Only e^ense about 2c per day to cover cost of postage and music used. Write for FREE booklet which explains everything In full. AMERICAN SCHOOL OF MUSIC. 70 Lakeside Buildinff. CHICAQO T o omen ! You desire to know the secrets of personality. How to make a positive success of yourself in your ideal career whether this be in married life, in business, on the stage or movies, or in any vocation. You desire to combine all these elements of attractive personality, which include beauty of face and figure, poise, cultivation of exquisite manner- isms, luxuriant hair, appealing eyes, the inner force that attracts adoration. The real secrets. Then let me send you my little book. It is called “HOW.” It will surprise and delight you. This is yours for the asking. Write for it today to; Mme. Juliette Kara, 61S West 43d Street, 102A, New York, N. Y. 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Las Cruces, NEW MEXICO (Exclusive Controllers of the Genuine Mexican Diamond) Read Character from Handwriting Easy to Learn— Send No Money Graphology is the science of read- ing character from handwriting. Men can assume smooth manners and sanctimonious expressions, but the handwriting never lies. A line of handwriting is the key which reveals character to you. You can analyze at a glance your friends, business associates and employees. H. E. GUBALKE Director School of Graphology Vmi Is the writer of the above specimen a worker or slacker? A saver or spender? Sentimental or hard headed? Would he make a good ^neral manager or just a faithful employee? Is he honest? The answer to all these questions and many more can be accurately told at a glance. It is easy to learn and fascinating as a novel. SEND NO MONEY— So sure are we of the marvelous social and business values of this course, we will send it to you FREE. If not satisfied, mail it hack. If, like thousands of others, you want it, send $5.00 in full payment. r SCHOOL OP GRAPHOLOGY I I Rooml555t 1810 Wilson Avenue, Chicago I I Please send me your course of seven lessons on Reading Character * from Handwriting. I will remail the course to you within five I I days or send $5.00 in full payment. I j Name | I Address,..^^ I u 1 Richman, Poorman,Beggarman — I (Continued from page 44) admirably fitted him for larger, more permanent roles later on. There are few veteran theatergoers who, the min- ute they touch upon the subject of Ber- tha Kalich in “The Kreutzer Sonata,” do not spontaneously remark, “And Frank Losee ! Will you ever forget him ?” Then followed a successful run in “The House Next Door,” and after that his memorable two years under the man- agement of David Belasco in “The Rose o’ the Rancho.” Four or five years ago, while he was acting with William Faversham in “The Hawk,” William Faversham, who was just starting to attempt his first picture, tried to persuade him to “come along with me and slide into the silversheet.” “I flatly refused,” now laughs Mr. Losee. “After growing up in the land of realism, it seemed ludicrous to dwindle down to the movie studio of make-believe. “My initial screen work happened when ‘The Eternal City’ was being filmed. I went to watch one day, partly out of curiosity, partly because Elliott Dexter and Pauline Frederick are old friends of mine. As I appeared, one of the directors called to me, ‘Hello, Losee ! You’re just the man we need. Come, ex- actly as you are, get in on this. All you have to do is lie still and pretend you’re dead.’ Well, you know how any old thing goes during vacation ! So I took up the challenge and acted the corpse. “That is how I got m.y first drilling in playing before the camera, too. For as I lay there on my back over an hour, while the others around me rehearsed and rehearsed and rehearsed, I could not help but absorb the directions. I was compelled later to make use of them, for altho I was ‘dead’ at the beginning, I had to continue with my part, as they had taken the last scene first! After I fin- ished that picture with them, I went back next season to play with Ernest Truex and Henry Miller in ‘Just Outside the Door.’ We ran only nine days. That left me without something to do and prompted an offer to be with Dexter again and Marguerite Clark in ‘Helene of the North’ by the Famous Players-Lasky, with whom I have been ever since. “My ideas haven’t changed any. I feel the same about the lack of verity under the Cooper-Hewitts now as I did at that time. In fact, the taste of the pudding had given the proof. For in- stance, here I am talking to you, and at any moment the boss will call me, and out of a perfectly clear sky I shall have to go on, feel miserable, act tragically, and show that my heart is breaking be- cause my daughter ran away with a second-lieutenant. As you are bound to ask me, then, why I am here, I shall de- liberately, without any pretense, tell you the truth. Having been born, schooled, influenced, grown and now getting old and wise in New York City has made of me a confirmed commercialist ! “You can put it in print, too. I am not ashamed of it.” HERMO “HAIR-LUSTR” (Keeps the Hair Dressed) FOR MEN AND WOMEN The hair will stay dressed after Henno “HAIR-LUSTR” has been applied. No more mussy, untidy looking hair even after a shampoo. Adds a charming sheen and luster, insuring the life of the hair, as well as its beauty. Dress it in any of the pre- vailing styles, and it will stay that way. Gives the hair that soft, glossy, well groomed appearance so becoming to the stars of the stage and screen. Guaranteed harmless and greaseless. Two Size* — 50c and $1. 00 $1 size three times the quantity of 50c size. SEND FOR JAR TODAY. Remit in coin, money order, or U. S. stamps, and we will send, at once, Hermo “HAIR-LUSTR,” and the Hermo Booklet, “Guide to Beauty,” prei>aid, under plain cover. Use it hve days and if not entirely satisfactory, return what is left, and we will REFUND YOUR MONEY IN FULL. Once you use Hermo “HAIR-LUSTR” you win never be with- out it. SEND YOUR ORDER TODAY. HERMO CO.. 542 E. 63rd Street, Dept. 3S. CHICAGO ^".SIORYIDEASrd You canleam at home to develop your story ideaainto salable •hort stories and photoplays. Jack London said ao* Be and other great writers have endorsed onr home study course. Personal instruc* tion. tfanuscripts carefully edited and made ready to sell. ITAt* RaaIt **Howto Write’* and full details of itriMS rUr rice DUUn our limited introductory offer. Don't lose this opportunity. Write today. _Hoo5L6Mnntltutny Short Story Bept. ISSS ft. Waynn, tnd. UNDER MASTER TEACHERS A Complete Conservatory] Course by Mail Wonderful borne study music lessons under ^eat American and European teachers. Endorsed by Paderewski. Master teachers ^ide and coach you. Lessons a marvel of simplicity and completeness. University Extension Conservatory, (with a faculty com- posed of master teachers in all branches of music) is the only recognized Conservatory of Music giving lessons by the UNIVERSITY EXTENSION METHOD, grading examina- tion papers on each lesson. Our teachers dictate individual personal letters to correct faults and make clear all doubtful points. The instruction of a^ Master — the individual touch of an accomplished teacher^ is yours to command from the very moment you enrolL Anyone can learn at home. Any Instrument or Voice Write, telling os the_ coarse yon are interested in, age, how long vou have taken lessons, if at all* etc., and we will send you our Fre© Book containing text and illustrations covering lessons in PIANO courses), by the great Wm. H. Sherwood, HARMONY by Dr. Protberoe and Rosenbecker. VOICE COURSE (with aid.of Phonomph) by Crampton, PUBLI(3 SCHOOL MUSIC vi^^lin, c(5rnet, mandolin, guitar. BANJO, REED ORGAN, by equally eminent teachers. O V T leam how easily you # W can become a fine singer, or a skillful , - Ai A ..L A player. Write tod^ for full particu- lars. Investigate without cost or obligation. I University Extension Conservatory 5436 Siegel'Myers Building Chicago, IIL Write the Wordst For a Song Write the words for a song. We revise song-poems, compose music for them, and guarantee to secure publication on a royalty basis by a New York music pub- lisher. Our Lyric Editor and Chief Com- poser is a song-writer of national reputa- tion and has written many big song-hits. Mail your song-poem on love, peace, vic- tory or any other subject to us today. Poems submitted are examined free. ; BROADWAY COMPOSING STUDIOS i 107-E Fitzgerald Bldg., Broadway at Time* Sqnare, NEW YORK I (Seventy-eight) ! MOTION PICTURE CLASSIC The Celluloid Critic {Continued from page 45) I Rialto Theater protested to us about Charlie Ray in “The Girl-Dodger,” (Paramount). “Gee,” he groaned, “they all like it so much they’re staying for the second show.” Herein Ray plays a col- lege grind, a bespectacled dreamer, who meets the village belle and fancies her a chorus-girl. Later he discovers his error and is invited to a dance given by the young woman. Once at the party, he loses his evening suit trousers under hysterically amusing conditions. Here is a situation such as confronts one in an evening’s nightmare. Ray makes it highly laughable. While not the equal of his hero of “String Beans,” Cuthbert Trotman is nicely humanized by Ray. There are many little details, such as the [ vague look in the grind’s eyes when he I removes his glasses. We like Dorris Lee as the girl and Hal Cooley as the fasci- nating “gloom buster.” “The Girl- Dodger” is an ideal celluloid farce and the author, J. G. Hawks, is to be con- gratulated. We readily concede that “The Girl Problem,” (Vitagraph), is pretty poor drama — but it did rest our eyes. The plot has nearly escaped us, but Co- rinne Griffith in her variety of gowns \ provides all the dramatic suspense we i desire. Miss Griffith plays a modiste j model who writes short stories in spare moments. To the shop comes Ernest Sanford, successful author, in quest of a model for his satire on femininity, upon ; which he is working. He engages the ! literary manikin, takes her home and, of I; course, falls in love. And everything turns out all right, of course, when the I model dashes off a best-seller, beating ; out her employer-lover at his own game. Mf we remember clearly, Walter McGrail 'was the author and Agnes Ayres the ' society maid engaged to him, but all we ; really recall is the star. The story lacks j, the breath of life, but Miss Griffith ! doesn’t. Which is the lure of “The Girl I Problem.” ■ “The Better ’Ole” is different. For that, many thanks. Filmed in England, it is adapted from Bruce Bairnsfather’s famous cartoons, the same drawings that formed the basis of the stage success ! now running in New York. Bairns- ! father’s slow-thinking, courageous, blun- I dering old Bill, the very spirit of the old ( British army that passed away at Mons, obtained a remarkable vogue early in the j war. In the screen version. Old Bill, with his two comrades, (Bert, always worried over his trick cigar-lighter which never works, and Alf, with his penchant for femininity), move thru a series of lively incidents. Old Bill even foils a German plot to blow up a bridge. But, ! in the main, “The Better ’Ole” concerns (itself wholly with the behind-the-lines, lout-of-the- trench moments of soldier re- Baxation. There are many differences of I I method in the production, but, on the P I whole, the Welsh-Pearson Film Com- I pany has made quite a workmanlike pro- || {Continued on page 82) SI (Seventy-nine) • I • I • r ».! r« t • Don't Commit A Crime Against The Woman ybu Love No AMOUNT of love will ever atone for the crime you will com- mit, if you make some pure, trusting young girl your wife when you are UNFIT to assume the duties and responsibilities of a husband and a father. Her whole future life, her body and soul, will be in YOUR keeping; no one will be able to help her if YOU prove faithless to her, trust in you. Don’t put the matter aside, you can’t get away from it; you can’t make any girl happy, if you are weak, im- potent, sickly; grouchy with dyspepsia or biliousness, poisoned by constipation, or suffering from any other devitalizing ailment. Stop and think, right now, for HER sake, if not for your own. What CAN her marriage to you bring her, but lifelong regret and sorrow, if you are only an apology for a man, with your muscles flabby, your blood like water and your brain woozy as a result of your condition. She Thinks You Are a Man She trusts, admires and loves what she THINKS you are — a real MAN, mentally, morally and physically, whom she can respect as well as love. She believes you to be a man who can look any other man in the eye and hold your own with him ; who is able to protect her under any circumstances; who can make his way in the world and give her the comforts she has a right to expect from her husband; and Anally who will ultimately make her the mother of healthy, happy children, a blessing to you both. Think of the kind of children you will make her the mother of if you are one of the great UNFIT ! Think of the weak, ailing, rickety, defective boys and girls such men bring into the world — ^ pitiable little creatures, with no chance in life, living re- proaches to the father who begot them. Don’t close your eyes to these things. They are Facts; facts thoroughly understood by every breeder of dogs, cattle and horses ; facts recognized by the legislators of sev- eral states, who would make it a LEGAL, as well as a MORAL, crime to marry when unfit. Make Yourself 100 Per Cent Fit Put your past behind you. What if you have led a gay life and sowed a big crop of wild oats? Start NOW to root them out. What if you have burned the candle at both ends and feel now like a human v/reck, with your strength of body and mind dissipated and your vitality ebbing away? All the more reason why you should begin now, TODAY, to stop that steady loss, build up your strength again, regain your lost vitality and make a manly, red-blooded man of yourself. It’s the ONLY thing to do — the only way to have any more happiness in life — the only way to keep from slipping down into the scrap heap of the hopelessly down-and-out — and you can do it, if you go about it the right way. Strongfortism Will Show You How LtONEL STRONGFORT “Dr. Sargent, of Harvard, declared that Strongfort Is unquestionably the finest specimen of physical develop- ment ever seen.” chronic ailments ; I'll help you steady your nerves and clear your brain and send the rich, red blood of recommend. 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My free book, “Promotion and Conservation of Health, Strength and Mental Energy,” will show you the quick, easy, sensibie, manly way out of your difficulties ; the way that has brought renewed hope and confidence and joy of living to thousands of other men ; it wiil show you how to make yourself PIT to live ; PIT to marry ; or, if you are married already, it will help you become the father of healthy, happy, laughing children who will be a joy to you and your wife as long as you live. YOU WANT THAT BOOK. FREE CONSULTATION COUPON Mr. Lionel Strongfort, Newark, N. ,T. — Please send me your book, “PROMOTION AND CONSERVATION OF HEALTH. STRENGTH AND MENTAL ENERGY,” for postage of which 1 enclose three 2-cent stamps. I have marked (X) before the subject In which I am interested. Do Your Part Now Do YOUR part, and I'n do MINE — I guarantee It. Fill out and send me the coupon, with three 2c stamps for postage and packing on the free book, “Promotion and Conservation of Health, Strength and Mental En- ergy,” and I’ll send you with it, without charge, help- ful, persona! information on the conditions that are troubling you. DON’T DEUAY — -here's the coupon — Do your part NOW. LIONEL STRONGFORT Health and Strength Specialist 896 Park Building, Newark, N. J, . .Colds . .Catarrh . .Asthma . .Obesity . .Headache . .Thinness . . Rupture . . Lumbago . . Neuritis . . Neuralgia ..Flat Chest . . Defcrml^ (describe) . .Insomnia ..Short Wind ..Flat Feet . .Stomach Disorders . .Constipation . . Biliousness ..Torpid Liver . .Indigestion . .Nervousness ..Poor Memory . . Rheumatism ..Youthful Errors (896) ..Vital Losses . . 1 mpotency . . Gastritis . . Heartweakness . .Poor Circulation ..Skin Disorders . . Despondency ..Round Shoulders . .Lung Troubles ..Increased Height . .Stoop Shoulders . .Muscular Development • Occupation. Write Plainly FANNIE WARD Famous Photoplay Star Writes: Maybell Laboratories, Chicago. “I can sincerely recommend 'LASH- BROW-INE’ as a splendid preparation for stimulating and promoting the growth of the eyebrows and lashes. 1 use it reg- ularly, with most satisfying results. Sin- cerely, Fannie Ward.” If nature has denied you the price- less heritage of long, luxuriant eye- lashes and well formed eyebrows it is now quite possible for you to have them if you will apply a little Remember the Full Name — It’s Imitated persistently for a short time. Miss Ward and many other stars of the screen and stage, as well as women prominent in society, all use and highly recommend this efficient preparation, which nourishes and promotes the growth of eyelashes and eyebrows, and so adds greatly to the charm and beauty of the eves and face. Will you not try “LASH-BROW-INE” ? “LASH-BROW-INE” is a pure, deli- cately scented cream, which is guaran- teed absolutely harmless. It has been tested and endorsed by the best chemists and beauty specialists of America. An invaluable aid to beauty. Thousands have used it successfully. Why not you? TWO SIZES 50c and $1. Send price and we will mail you “LASH- BROW-INE’’ and our Maybell Beauty Booklet, *‘The Woman Beautiful/* prepaid under plain cover. Remit by coin, currency, U. S. stamps or money order. SATISFACTION ASSURED OR PRICE REFUNDED. The wonderful success of “Lash-Brow-Ine** has caused the name to be imitated closely. There is only one genuine “Lash-Brow-Ine.’* Avoid imitations. Remember the full name — “Lash- Brow-Ine.’* MAYBELL LABORATORIES, 4305-73 Grand Blvd., CHICAGO EaCTORY-TO-RIDER AVES YOU MONEY _ — — — Buy direct and save $10 to $20 on a bicycle. RANGER BICYCLES now jcome in 44 styles, colors and sizes. ' Greatly improved; prices reduced. , Other reliable mc^elg also. WE DELIVER FREE to you on approval and SO days trial and riding test. . Our ble FREE catalog shows \ everything new in bicycles and sun* ^ dries. Write for it. TIRESv lamps, wheels, parts and supplies at half usual prices, < Do not buy a bicycle, tires, or ;>vsundries until you get our wonder* %ful new o^ers.low prices and liberal Iterms. A postal brings everything. Motorblhti\£^ MCAR CYCLE COMPANY m Ell II Oepl.D-120, Chicago 100 PHOTOS OF MOVIE STARS reproduced in half-tones. Your favorites are all here — Chaplin, Bushman, Pickford, Bara, Pearl White, Joyce, Clark, etc. All the STARS in real classy poses. Suit- able for framing. Set mailed for 15c. with catalog of other MOVIE articles. YOUNGS PHOTO CO., Dept. B. So. Norwalk, Conn. The March of the Photoplay {Continued front page 71) knows the Griffith studios denies that D. G. is as skilful a scenario writer as he is a director. And perhaps it would be as unwdse to deny that great screen art should be the product of a single Ad- mirable Crichton, a single many-faceted Pooh-Bah. Gordon Craig believes that the man that writes a play ought to be able to costume it, design its scenery, direct it, and — if his own career is any sign — press-agent it as well. The movies have proved that that is the surest way of putting a century of art development into ten years. The Extra Girl Invades Another Courtroom {Continued from page 49) jurors and the various attorneys and clerks had been photographed to Mr. Stahl’s complete satisfaction, he turned his attention to the members of the bench brigade, not that we were impor- tant factors in this “thrilling drama of life and love,” but just in front of us sat the sweetheart and mother of the ac- cused boy. They were the other two sides of the triangle, and it was essen- tial to depict their emotions to complete the third or fourth reel. It was a thrill- ing moment in the proceedings when the torture of the boy caused the sweetheart to rise from her bench — and no bench or occupant thereof could censure her for rising — and cry out that it was to avenge her that the boy had committed the murder. “Honey, dont you see that they are going to send this boy of yours to the electric chair? Oh, they cant do it, they cant do ” pleaded Mr. Stahl, trying to bring the facts home to the mind of the little girl. “All thru,” Mr. Stahl announced around six o’clock. Miss Reed had left about four, much to my regret, but then, I suppose she did need a few minutes’ rest before the evening performance of “Roads of Destiny,” and we hustled away from the courtroom. It was two long weeks before I was again on the Tenth Avenue car, studio- hound. When we finally reached the studio there was a general scramble to get ready in the ten minutes that still remained. May MacAvoy, who was playing Miss Reed’s sister, and two of the star’s pro- tegees, an old school friend, Mae Grif- fiths, and Blytli Daly, daughter of Arnold Daly, shared the room with me. “Oh, I think it’s just wonderful to be in pictures,” the latter enthused, waving a stick of grease-paint in the air. “I came over to call on Miss Reed the other day, and when I said ‘Oh, how I’d love to be in pictures,’ she answered, ‘Well, then, you shall be.’ And here I am. Isn’t she just too adorable for words? You know I go to the Art League morn- ings, and this is a little water-color I did of her.” {Continued on page 88) ! Th/rro ® little secret kingdom every 1 nere woman knows — her intimate toilet table. There she arranges certain special treasures. And first among these, ‘‘the woman who knows” will place Bon- cilla Beautifier. May Allison. A Skin Joyous to See A radiantly clear, beautiful skin — joyous to see — magic to touch — may be yours. From the very first application you will note the Im- provement. BONCILLA BEAUTIFIER lifts the lines out — re- moves the blackheads — closes enlarged pores, and clears the complexion. In a few minutes after applied you will feel the gentle pat, pat . . . the lifting, smoothing ecnsation that assures you that it is starting its good work jf youth- ful restoration of the face as follows: Lifting out the lines and blackheads. Bringing back into place the sagging skin and muscles of the face. It gives renewed strength to the relaxed, flabby, weakened tissues. BONCILLA BEAUTIFIER is entirely different from all creams or liquids. It is in paste form, which you apply twice a week until you get the face in beautiful condition — then occasionally to keep it so. If your dealer cannot supply you, send $1.00 for full-size jar. Results guaranteed. Money back if not satisfied. Send 12c Additional for Dainty Beauty Box Containing samples of Boncilla Cold Cream, Boncilla Vanishing Cream and Boncilla Face Powder. The Crown Chemical Company Dept. 645j Indianapolis, Indiana Your Bunion Can Be Cured Instant RelieF Prove It At My Expense Don’t send me one cent — just let me prove ft to you as I have done for over 72,500 others in the last six months. I claim to have the only successful remedy for bunions ever made and I want you to let me send 5’ou my “Falryfoot” treatment FREE, entirely at my expense. I don't care how many so-called cures, or shields or pads you ever tried without success — I don't care how disgusted you feel with them all — you have not tried my remedy and I have such absolute confidence in it that I am going to tend you this treatment absolutely FREE. It is a won- derful yet simple home treatment which relieves you almost instantly of all pain; it removes the cause of the bunion and thus the ugly i deformity disappears — all this while you , ? are wearing tighter shoes than ever. I 5 Imow it will do all this and I want you to send for ‘‘Falryfoot” FREE, at my, expense, because I know you will then I tell all your friends about it just as those 72.600 others are doinsr now. Write now, as this announcement may not appear in this magrazine arain. Just send your name and address and *‘Fairyfoot" will be sent you promptlyin plain sealed envelope. Write today FOOT REMEDY CO. Dept. 22 3661 Ogden Ave. Chicago (Eighty) I ^'i\l Stenographer Learn Shorthand at Home— in 5 Evenings Learn the Lessons in Five Evenings, then Acquire Speed by Easy Practice Five days hence you will be writing K. I. Shorthand — that is if you were to start learning today. Think of it! You probably do not know the first prin- ciple in shorthand — perhaps you never dreamed of being able to write it — and yet before a week has passed you could be making all sorts of memoranda in K. I. Shorthand. You can prepare yourself for a position in weeks as compared to months by other systems. It is not too good to be true! K. I. Shorthand is the new, simplified stenography that anyone can learn in five evenings and gain ample speed in a fraction of the time required by any of the old, complicated systems. KI fits you for the better paid occupations Why not learn K. I. Shorthand now and let it help you on your way to a more desirable vocation — to higher salary — to greater efficiency as a teacher, business person, lecturer, author, doctor, lawyer, press correspondent, or any one of a legion of other occupations? In an unbelievably short time you will know K. I. Shorthand well enough to serve you as a public or private stenographer or secretary — with all the wealth of opportunity that such capability means. Study at Home K. I. Shorthand has taken the world by storm. Young and old, beginners and experts are writing it. It is destined to supersede the old complicated systems, for uni- versal use, like the typewriter has replaced long-hand in business correspondence. K. I. Shorthand is for MEN AND WOMEN of all ages and occupations. Constantly it is depended upon for making important memo- randa, taking messages verbatim, jotting down business-getting ideas, etc. — by business execu- tives, industrial engineers, salesmen, advertising men, writers, lawyers, teachers, farmers and numerous others. Daily we hear of people who never thought they could spare the time to learn stenography, learning this new method in a few hours, or a few evenings and putting it at once to practical Grace Miller White, who wrote**Tess o* the Storm Country** and numerous books and screen plays, says: “A truly wonderful thing is K. I. Shorthand. It surely is simplified stenography that anyone can learn in a few hours; and then it is a pleas- ure to speed up in writing one's own thoughts or taking down what others are saying. I am amazed at your beautifully easy method of ac- quiring such a valuable accomplishment.” So Easy to Learn You can do it, too. Forget what you have heard of the hardship of learning any of the old systems. K. I. Short- hand is immeasurably unlike any of them. It is stenography pruned of its maze and mys- tery, clarified, simplified. It is shorthand made shorter, easier to learn, more natural to write, as easy to read as long-hand — and never for- getable. Even experts in the old systems have aban- doned them because they prefer the new and simpler K. I. Method. K. I. Shorthand omits all the intricate, per- plexing and brain-tiring special rules, positions and shadings which make other systems a nightmare for the student. It is so much easier to learn because there is infinitely less to study. No greater endorsement could be asked than the fact that it is used in U. S. Government FREE Lessons Civil Service positions, by large corporations and in courts. Experts Guide You In no other way can you obtain a thorough stenographic education at such trifling cost. Includes complete corre- spondence instruction, the equal of which would cost many times as much elsewhere and take months of time as well. CERTIFICATE OF PROFICIENCY is awarded students upon completion of the course, and is recognized as genuine proof of practical stenographic efficiency. What Others Say *‘ln two' weeks I learned all the lessons thoroughly. I am now doling stenographic work, having accepted a position the first of this month, and I am arntzed at the speed with which I ain able to talte dictation.” GERTRUDE L. GIRARDEAU. "I learned K. I. Shorthand within five hours and in one week afterwards I was able to write 90 words per minute. I set down all my notes in K. I. Shorthand and can read them weeks later. K. I. Shorthand is worth ten times what is asked for it.” BYRON W. CREW. "It was a pleasure to learn K. I. Shorthand. Within three hours f could write any word. I can now write over 100 words per minute and am posi- tive that by a little more practice I could speed up to l.'iO words a minute. It is easy to read one's notes in K. I. Shorthand.” .TOY WADSWORTH. Mail the coupon at once, or write, mentioning ** Motion Picture Classic** The first lessons will be sent you free. After one evening’s study you | KING INSTITUTE, Inc. will be able to write thousands of words in K. I, Shorthand so accurately | you could read your notes months or years later. Then, if you are | interested and wish to continue the course, we will forward the remaining | lessons on approval for 30 days. If not convinced, there is nothing to B return — no bother — no expense. Why not try it? Remember, if you cannot I learn you wont be out a penny. I Station F, New York, N.Y., or 8 S. Wabash Ave., Chicago, III. Please send me the first two lessons in. K. I. Shorthand, FREE, also full information. **Talk as fast as yoxi like. I am taking it down in K. I. Short' hand.’* KING INSTITUTE ■ AddfresB EE-213 154 East 32nd Street, New York, or 8 South Wabash Avenue, Chicago, 111. | a ■ (Eighty -one) WE can hardly blame uninvited guests for their interest in an array of attractive hair such as results from the use of CANTHROX SHAMPOO Canthrox gives such a massy fluffiness to the hair that it appears much heavier than it really is, vchile each strand is left with a silky brightness and softness that makes doing up the hair a pleasure. It is so easy to use and so effective that it has been for years the favorite of all who want to bring out the natural beauty of their hair. Canthrox, the hair-beautifying shampoo, rapidly softens and entirely removes all dandruff, excess oil and dirt. For Sale at All Drug Stores Canthrox costs about three cents a shampoo. No good hair wash costs less; none is more easily used. A few minutes is all that is needed for your complete shampoo, as the hair dries very quickly. P "p • 1 — To show the merits of Canthrox and to prove that it r 10© 1 rial \^rr0I is in all ways the most effective hair wash, we send one perfect shampoo free to any address upon receipt of three cents for postage. H. S. PETERSON & CO., Dept. 286, 214 W. Kinzie St., Chicago, 111. TO OUR READERS:— The Motion Picture Classic guarantees the reliability and • — ■ = integrity of its advertisers. However, should there be any misrepresentation whatever, notify us promptly, and either the advertiser or our- selves will refund your money. M. P. Publishing Co., 175 Duffield St., Brooklyn, N. Y. An era of great prosperity is at hand. Freer credit conditions and stabilizing of taxation should usher in a period of wonderful business for many corporations. Cheap Stocks — S% and more The stocks of many of these already prosperous companies are selling at attractive prices on the Stock Exchanges. Yields of 8%- and more with excellent possibilities of considerable appreciation in value may be obtained. The Ten Payment Plan May be utilized to purchase 5, 10 or more shares of income paying stocks which may be paid for in easy installments and sold at any time. All dividends credited as paid. Send for booklet P-5, “The Ten Payment Plan,” and list of stocks now benefiting by prosperity. E. M. FULLER & CO. Members Consolidated Stock Exchange of New York 60 Broad Street New York MOTION PICTURE 1 The Celluloid Critic J {Continued from page 79) jj] duction. Charles Rock makes a human ill characterization out of Old Bill. | “False Faces,” the Thomas Ince pro- if duction of Louis Joseph Vance’s ro- mance, is a bully screen melodrama, a I considerable distance behind “Sporting |i Life,” but still a distinctly well-sustained |i thriller. “False Faces” continues the ad- J ventures of Mr. Vance’s popular charac- ter, the Lone Wolf, thru the world war. Ii Remember Herbert Brenon’s high-speed | “Lone Wolf” with Bert Lytell? Here | the Lone Wolf’s combat with the Ger- I man secret service and his efforts to aid | the beautiful heroine, who is carrying a | valuable Allied message in a tiny tube, provide plenty of excitement, not the - least of which is the way the adventurer ;i| is picked up at sea by a U-boat. Later the Lone Wolf sinks the submarine and ^ escapes. Henry B. Walthall is the hero | of “False Faces” and he does all sorts of difficult physical Munts not usually ij connected with the Little Colonel. On | the whole, Walthall makes the Lone a Wolf interesting, altho he should never,' . wear a gray fedora. A hat like that\| simply doesn’t go hand-in-hand with';! romance. Mary Anderson is pleasant as^.:: the heroine and the direction of Irvin V.Li* Willat is keyed to a splendid speed. The' | U-boat scenes are admirably done. f'ji Just after Vitagraph does Charles]iij Klein’s “Lion and the Mouse” with in-l| different success. Paramount follows vvith^ his“Maggie Pepper.” Oddly the lesserH stage piece is infinitely better screen en-j| tertainment. This we credit to the con-^t tinuity, the humorous subtitles and Ches-^ ter Withey’s keen direction. “MaggieJ Pepper” has been told in story form intrn The Classic, which makes repetition of|j| the story unnecessary. Suffice it to sayTli that Ethel Clayton as the slangy depart- Tj ment store employee is a bright figure*, of comedy and sincerity, while ElliottF; Dexter is, of course, a highly satisfac-j : tory store owner. “Maggie Pepper” isn’tL- much of a screen drama, but it is goodf? entertainment. g “Paid in Eull,” (Paramount), adapted £ from Eugene Walter’s drama, seems to*' have swallowed up Pauline Frederick % bodily. Miss Frederick is well nigh lost in the unfolding of this dramatic sermon upon living beyond one’s means. The real honors go to Robert Cain, as the’ weakling husband who steals in order to acquire luxuries and then wants to' hold his freedom at any price. Here is f one of the best bits of celluloid playings of the year. But slightly less effective is « Frank Losee’s vigorous Captain Wil- 1 liams. Losee’s identity is almost com- 1 pletely sunk in the character. As a fi screen play, “Paid in Full” will hold your 1 interest, but it lacks the cumulative 1 power of the stage drama, because the fi adaptation follows the drama too liter- * ally. A story must be told in different fashion for the silverscreen than for the 1 footlights. fl William Farnum’s “The Man Hunter,” p {Continued on page 86) 1 (Eighty-two) CLASSIC The Newest Fame and Fortune Beauties {Continued from page S3) screen, being remembered for her play- ing of the little sister Mary in “Huck Finn” and “Tom Sawyer” with Jack Pickford. That was in the summer of 1917. Miss Marvin has brown eyes, brown hair and is five feet five. Virginia Brown, of 565 West 162d Street, New York City. Miss Brown has had some slender experience. She has brown eyes, black hair and is five feet four and one-half inches in height. The Motion Picture Magazine for June will carry the seventh honor roll, presenting the seven best contestants en- tering their pictures between March 1st and March 15th. The Motion Picture Classic for June will follow with the honor roll for March 15th to April 1st. This method of presenting honor rolls "will be continued until the end of the contest. Here are some important things to note : The closing date of the contest has not "yet been decided upon, but it will be an- "nounced in both The Motion Picture Classic and The Motion Picture Magazine far enough in advance so that every one can get their final pictures in before the last hour. If you happen to be within a short dis- tance of the office of The Motion Pic- ture Classic and The Motion Picture Magazine, please do not telephone the office for information regarding your pic- tures. With thousands of portraits ar- riving daily, the impossibility of giving but information of this character is plainly apparent. Do not write to ask if i your portraits have arrived safely. These [queries cannot be answei'ed. j If you wish your portrait or portraits 'returned, enclose the right amount of postage to cover mailing. Attach stamps to pictures with a clip. Do not place stamps in separate envelope. These pic- tmes will be returned upon examina- tion by the judges for the monthly honor i.rolls. Pictures may be lost in handling :ind we cannot guarantee the safe return if portraits. [ If your pictures were entered before 'March 1st and you have not won a !ilace on any of the honor rolls, try Hgain. Because you have submitted one i )r more pictures does not bar you from i trying again. ' Try not to send hand-colored portraits. ' The contest is open to men. Upon the closing, the final winner will be selected. Undoubtedly he or she, (as the contest is now open to men), will be selected from among the various semi- monthly honor rolls. It is possible that three or four leaders may be chosen and invited to come to New York for test motion pictures, after which the final winner will be decided upon. It is also possible that a first prize may be awarded to both a man and a woman. This will, however, be decided later. It is important, if you have already won a place on the honor roll, that you submit at least several more pictures to be used later by the judges. In this case, contestants should write the words “honor roll” across the face of the en- trance coupon which is attached to the portrait. The words should be written in red ink, to be plainly distinguished. Let us briefly outline the purpose of the contest once more: The two magazines will give two years’ guaranteed publicity to the win- ner. This will include cover portraits in colors, special interviews, pictures, spe- cial articles, etc.— the sort of publicity that could not be purchased at any price. The Motion Picture Classic and The Motion Picture Magazine will secure an initial position for the winner and other opportunities, if necessary. At the end of two years The Motion Pic- ture Classic and The Motion Picture Magazine guarantee that the winner will be known thruout the civilized world. The Fame and Fortune jury includes: Mary Pickford, Thomas Ince, Cecil de Mille, Maurice Tourneur, Commodore J. Stuart Blackton, James Montgomery Flagg, Howard Chandler Christy and Eugene V. Brewster. The terms of the contest follow: 1. Open to any young woman, or man, in the world, except those who have already played prominent screen or stage roles. 2. Contestants must submit a portrait, upon the back of which must be pasted a coupon from either The Motion Picture Classic or The Motion Picture Magazine, or a similar coupon of their own making. 3. Contestants can submit any number of portraits, but upon the back of each must be pasted an entrance coupon. I Jame . . . iddress. CLASSIC ENTRANCE COUPON Contestant No (Not to be filled in by contestant) (city) I 'revious stage or screen experience in detail, it any ) hen born . . yes (color) >ight Birthplace . . Hair (color) - Weight Complexion (street) . (state) For forty years FasKion Kas put Ker Stamp of approval on QQn'iai'is FACE FOWDER, All tints 50 cents (double quan- tity) at all toilet counters, or send 4 cents for miniature box. The Freeman Perfume Co. Dept. 104 Cincinnati, O. 10-Piece Manicure Set Including *1 Siad^-hmd Whatever else you use for your nails you need Gladhand Nail Health, too. It not only smooths and softens the cuticle, facilitating its removal without cutting, but is a treatment for ridged, fluted, cracked, or discolored nails. Imparts an enameled finish that stays on despite washings. Gladhand is but one of the desirable products in this remarkably complete, though inexpensive outfit. It contains every requisite for 100 complete manicures, including Gladhand Nail Health, nail enamel, nail bleach, chamois buffer, nail file, etc. You may have Gladhand Nail Health alone in large jar for 25 cents, postpaid. Or, entire set sent in serviceable telescope box, postpaid, for $1.00. Guaranteed satisfactory — or money refunded. This intro- ductory offer soon to be withdrawn. Order today. IVORY MANICURE SPECIALTY COMPANY 852 Broadway, 105 A, Brooklyn, N. Y. INTRODUCE BE FIRST in your community to answer this Ad, and wear one of these BEAUTIFUL DAZZLING bluo white Caiifornia DIAMONDS, set in SOLID GOLD. Brilliancy guar- anteed 20 years. (Catalogue price $15.75). Fool experts, these dazzling GEMS so closely resemble South African DIAMONDS. Write quick, FREE OFFER LIMITED. State which ring you want, give size of finger. Only one to a customer on our FREE offer. CALIFORNIA DIAMOND CO. X3 Van Nuys Bldg,, Los Angeles, Calif. Learn Nursing — NOW ! Trained nurses are scarce. Hospitals and private patients need more than are available. Never before such a demand as now. Every nurse busy at good pay. This is your golden opportunity to become a trained nurse and easily secure a fine position at $20 to $30 per week. You can quickly master our special Training Course during your spare time at home and receive diploma approved by best doctors. Easy terms. Hospital experience given if desired. We help you find employment. Write at once for catalog. State age. American Training School. Dept. A., 1555 N. La Salle St.. Chicago RESURRECTQNE TRADE /AARK REGISTEREC Get Rid of that Nasal Twang on YOUR Phonograph This remarkable repro- ducer gives sounds their proper expression and rhythm. Its natural- ness and warmth of color makes the sound a true "resurrection” of the original. , , ^ — Applicable to any ma- chine. You’ll be delighted with it. Send $10 if nickel plated, or $12.50 if gold plated, and the RESURRECTONE will be sent postage paid. State make of instniment. Satisfaction guaranteed or money refunded. Hnffay Talking Machine Co., Dept. 105, 3W. 29lh St., New.York City Free Book Containing complete story of the origin and history of that wonderful iD8tra> ment— the This book tells you when to use Saxophone — singly, in quartettes, in sextettes, or in regular band; how to transpose from orchestral parts and many other things you would like to know. Youcan laarn to play the scale In one hour'c. P^acjlc^and soon be playingrpopular airs. Yoa can double your income, your pleasure, and your • popularity. Easy to pay by our easy payment plan. MAKES AN IDEAL PRESENT., Send for free Saxophone book and catalog of Tme-^ tone Band Instruments. BUESCHER band instrument CO. 273 Jackson Street, Elkhart, Ind. East OT West — North or South Jap Rose Talcum Powder Is the choice of women of the most refined taste. There is a subtle fascination in its delicate lodor— like the gentle breath of a rose. And it is so refreshing and soothing to the most tender skin. Trial Offer: Send 20c for an attractive Week> end Package containing four Jap Rose minia* Cures, consisting of one each of Talcum Powder, Soap, Cold Cream and Toilet Water. JAMES S. KIRK & COMPANY 1245 W. North Ave., Chicago © Copy this Sketch and let me see what you can do with it. If you like to draw, my prac- tical system of personal individual lessons by mail will develop your ability. A large pro- portion of the newspaper artists who are gaining success to-day were trained by this course. Cartoonists and illustra- tors earn $25 to $125 or more per week, and new opportunities are constantly opening up. rANDON PICTCBE CHARTS teach Original Drawing in the simplest way. Every step is explained clearly by pictures. You learn to draw as easily as you learned to write. Send sketch of Uncle Sam with 6c. in stamps for sample Chart, full information about the course, list of successful pupils, examples of their work, and evidence of what you too can accomplish. Please state your age. The Landon School f„dcL“toS 1403 Schofield Bldg. Clevelsnd, Ohio Play Piano in One Hour— iOc No teacher needed. Complete self-instructor. In one hour you can play an accompaniment to any song written This chart is invaluable to anyone wishing to quickly become a piano player. After using a few times you can dispense with chart. Mailed with catalog of novelties for 10c, 2c postage. ROYAL CHART CO., Dept. D., So. Norwalk, Coim. CARBO-HYDROGEN CO. 7% PREFERRED STOCK Par Value $5.00 P • I $4,871/2 and Accrued Dividend rrice | bonus 25% Common Stock Standard Gas for Cutting Iron and Steel. Established Company, rive plants in operation. Dividends paid on preferred since organi/.a- tion. Common Stock now earning at rate of over 0 per cent. Send for Circular P.C.-G Farson, Son & Co. Members New York Stock Exchange. 115 Broadway, New York City. This department is for information of general interest only. Those who desire answers by mail, or a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address all inquiries to The Answer Man, using separate sheets for matters intended for other departments ot this magazine. Each inquiry must contain the correct name and address of the inquirer at the end of the letter, which will not be printed. At the top of the letter write the name you wish to appear Those desiring immediate replies or information requinng research, should enclose additional stamp or other small fee; otherwise all inquiries must await their turn. Monsieur Le Southland. — So you have missed me. Yes, the editor tried to keep a large part of me out again this month, but I fooled him. I leave it to you— aren’t these answers more important than advertisements? Niles Welch in “Reclaimed” (Paramount). “The Death Dance” was taken in the East. John Bowers was born in Indiana. He is six feet and weighs 180 pounds. _ Leslie H. S. — I agree with you when you say knowledge is power — that is, if you know it about the right person ! You’ll be a famous photoplaywright some day if you keep^ on. Robert Gordon in “Blue Blazes Rawden.” Douglas Fairbanks Fan. — Why, Audrey Berry was in to see the Answer Man, and she is prettier than ever. You refer to Jack Mower as Graham in “Jilted Jane.” Wanda Hawley in “Border Wireless.” Mary W. — You say you want the December 1918 Motion Picture Magazine, which _we are out of, and you will be glad to pay for it — Mary Wasaha, 659 Oak Street, Bethlehem, Pa. You’re going to get a raft of magazines, Mary, when our readers know that you are so nice and good-looking. Dimples. — So you are physically down and out, and medicine does not help you. Non- sense ! I dont believe you are anywhere near out, but you may be down temporarily. Get out in the sun. Remember that where the sun does not go, doctors do. Nature is the only real doctor we have. All that medicines and physicians can do is to assist Dr. Nature. That will be about $1.50 for the advice. _ And you want an interview with Thomas Meighan. Look up the February 1917 Maga^ne issue. Interested. — After seeing Corinne GrifBtn in “The Girl Question, you think it would be a matter of the question of clothes, r^^th Avenue was scoured for those gowns, and they look it, dont they? You want an inter- view with Carl vie Blackwell. Very well, you shall have it. But I certainly cannot here give you the biographies of the ten players you mention. . Chick.— So you want to register a kick. Go ahead. You dont care for Norma Tal- madge in Chinese or Indian parts, but want her as her real self. We shall get in touch with Norma immediately, if not sooner. Arthur M. — Say, what do you think I am. How am I going to get a list of all the Greek motion picture players? It cant be done. Merci Monsieur. — Avec plaisir.^ Thomas Meighan and Bobby Connelly in Out of a Clear Sky.” So you think Marguerite Clark “hogs” the screen. I have no influence when it comes to getting Norma Talmadge and Eugene O’Brien to play together. Perhaps you have. CoRP. H. I. S.— You think I am very funny, do you? Alas, alack! I haven’t a funny bone in my body — not even a funny-bone. But I have a large wish-bone. You bet I would like to get better acquainted, so dont forget to call. Jean Keller. — Yours about husbands was interesting, but remember that a lover has all the virtues and all the defects that a husband has not. Pauline Frederick and Tom Wise are to play together in a stage play in Sep- i tember. Send for a list of correspondent tj! clubs. Oh, yes, I remember beautiful Octavi; Handworth. Lillian Concord in “The Trou Y ble Maker” as the mother. J Jaguar. — I agree with you when you sa; « never take advantage' of another man’s igno ranee, but it’s often done. No, G. M. AnderU 4 son is in New York, connected with theatri x cals. Well, if it contains fires, wrecks .q murders, kidnappings, etc., I should call i i melodrama of the rankest kind. But tha i governor who refused to pardon the lady wh } murdered her husband probably believes r $. Volts for Women. Turn off the current; it’ f getting warm. Kathleen H. — Thanks for the fee. Mon 1 roe Salisbury was born in New York and i t with Universal. Mollie Pearson and August t Haviland in “Passing of the Third Floe , Back.” Pretty ancient, but No, I hav I never had the pleasure of kissing the Blame f stone. Mae Murray will return to the stag ■ They say Mae Marsh is no longer wit Goldwyn. Mrs. George N. M.— No, I wont print yoi r address. Oh, yes ; why, I arise every mornir » at 6:30. I missed it only twice, once when i woke up and found my watch was not goin and once when I awoke and found my wat< gone. Oh, boy! No, no admittance to studii > when they are taking pictures. You expect n ; to be nice to you when you call me a womai » Zounds and gadzooks ! Dakota Bill. — Howdy ! Ho hum ! such i life. You Westerners are made of great stu Certainly I admire Taft. He is now mo i often toasted than roasted. He usually mak a big impression — particularly on a feath^ bed. L. C. Shumway is going to be Lilli" : Walker’s leading man, and remember Herb* 1 Pryor, of Edison? He’s the heavy. j Edith H. — Pardonne.'z vioi. Wh}-, brandy ; called cognac, after the French town of tl_ j name in the brandy-making region of Angc^ . leme. William Gillette, who is playing i “Dear Brutus,” is 65. Nat Goodwin was ' ; when he died recently. De Wolf Hopper is ' ; and E. H. Sothern 59. Why, I happened ' I pass Caruso and his bride the other day, ai ^ she certainly is a beauty. Classic D. D. — So you thought I'f'ss C • i ford was “a chickenly queen” in “Who ifc Number 1 ? Prenea garde. Karenina. — That’s up to you. Every '• traordinary man has a certain mission wh i > he is called upon to accomplish. I am so/ ; to say that I know of no corn cure. The 1 1 thing is to grin and bear it. A good, stu I f swear often helps a little — great oaths fr ' ■ little aching corns grow. . i Phone Operator. — Hello! No, this wi s i not busy. Liane Held Carrera was the t in “The Liar.” Harold Lockwood died Oct ^ 1 1918. The other player you mention is j. il formed. You know a man of refined ira 9 but of physical deformity somewhat resem ■ an oyster; the shell is not pleasing to the ^ 1 but its contents are exquisite to the h, ■ j Ring off, please. 'I | (Eighty -four) • How Eveiy Woman C^n Have A Winm^^ Personality kns^ of T moving pkture^ma4irf|^ j a^« to‘^tE^factYhat"hL^c”a%1:^L^and^^ pd T^avr^seenjo^man^^^^ ^t"haf not Success of a Winsome Manner ^ power lies within you, my dear Madam. I sawnumerous failures fhatwer^ so £''.^ Acquire Your Life’s Victory ambitions. '^I'hav^seen women of education, ||||^^^^'' “' '\ ^ ' 1-F/ta^ zo^^ccW ^/-errosiaifty ^is made up of ©women minus such * charm, good look's, winsomeness and suc- advantages, but , ,, ,, - ,. . cess can be cultivated. If you know the possessing certain YOU may nave all those attractive qualities secrets, if you learn the rules and put them secrets of lovable- that men adore in women ‘"to practice, you can be charming, you ness, a c e r t a i n . . can have an appealing personality. Don’t winsomeness, a certain journalist that “American girls are too provincial, think it is impossible. Don’t think you must be knack of looking right formal, cold and unresponsive while the French born that way. Don’t even think it ought to be and saying the right girls radiate warmth of sympathy, devotion and all hard to acquire it; because the secrets of charm word would get ahead de- those exquisite elements of the heart that men that I have collated and transcribed for you are lightfully. Nor were they adore in women.” more interesting than the most fascinating book naturally forward women. And I who am successful and probably known you have ever read. Nor were they the kind to you by reputation through my activities on the Once you have learned my lessons, they become that men call clever. Some Faubourg St. Honore can tell you in all candor, as a kind of second nature to you. When you notice of them, if you studied one woman confiding in another, that these French the improvement in your appearance, how you get their features closely, secrets of personality have been a very important on easier with people, how your home problems were decidedly not hand- factor in the successes of mine. But it is not my seem to solve themselves, how in numberless little soma', yet they seemed so. tendency to boast of myself, the Juliette Fara ways (and big ones, too) life gets to hold so many TllHettp Fara They didn’t do this by whom I want you to feel that you already know more prizes for you, you will decide to put more JUUCIIC x'dicl covering their faces with as your sincere friend, but I speak of Y(5U and and more of the methods in practice in order to cosmetics: they knew the true means. And often for YOU. obtain still more of life’s rewards. tTtry^‘%pLkd.'’>*‘tou“kno:; French Secrets of Fascination No New Fad-the Success of Ages what I mean. They drew others to them by a My continued residence in France enabled me I am well enoiigh known by the public not to be subtle power which seemed to emanate from them. to observe the ways and methods of the women taken as advancing some new-fangled fad. All my Others liked to talk to them and to do things closely. I studied and analyzed the secrets of life I have understood the value of plain common for them. In their presence you felt perfectly their fascinating powers. sense and practical methods. And what I have at^ ease — as though you had been good, good When I returned to the dear old U. S. A., I put into my course on the cultivation of personal- friends for very long. set myself at work putting together the facts, ity is just as practical as anything can be. „ i. •c' • • methods, secrets and formulae that I had learned 1 could go on to tell you more and more about rrCtlCn eminine Charms while in France. this truly remarkable course, but the space here The French women among my friends seemed Of one thing I am absolutely convinced — every does not permit. However, I have put some im- to me more generally endowed with this ability to woman who wishes it may have a winning person- portant secrets for you into an inspiring little fascinate, than did my friends among other nation- ality. ^ok called How that I want you to read. The alities. In the years that I lived in Paris, I was nuPrrnTnino- TimiHitv Gentlewoman Institute will send it to you entirely amazed to find that most of the women I met Uvercoming Deterrent 1 imiaity free, postpaid, in a plain wrapper, just for the were enchanting. I know I can take any girl of a timid or over- j • “Is it a part of the French character?’* I asked modest disposition, one who lacks self-confidence, send tor the free book my friends. or is too self-conscious for her own good, and HOW if you want to gam the finest of friends “Were you born that way?” I would often ask show her how to become discreetly and charmingly 2.nd to possess happinps with contentment that some charming woman. daring, perfectly natural and comfortable in the will come to you as the result of a lovely and And they smilingly told me that ‘‘personality’' presence of others. I can show you how to bring wuming personality, as we know it here in America, is an art, that is out charms which you do not even dream you Ynnr^ fnr /n f studied and acquired by French women just as possess, * Un^uth BoWness^r TactM J ^..777^ personality. This includes you, dear reader. AudaClty? There are numerous real secrets for developing „ „ „„ assertive woman, the kind that ^ y>our personality. In France, where the women from too great forwardness, I can show Mail have alwap outnumbered the men and where op- ^ that you will find delightful, how to ^ portumty for our sex ,s restricted,, those who wish unassuming, to tear away the false -iK©, , to win husbands or shine in society, or succeed repelling and ungracious personal- CoimmAw*/ in their careers, have no choice but to develop replace it with another that wins and at- their charms m competition with others. this method, you will succeed, oh so £o»* M How Men’s Affections Are Held ^o^’n^eet wifh 1 1 Lately, the newspapers have been telling us that I can take the frail girl or woman the listless if I yi !r / thousanas and thousands of our fine young army one who usually feels that the good things in life i, — (i — LX- jl men have taken French wives. It was no surprise are not for her and show her how to become vig- 9 /■'’C'TVTT'T 'C'XXT’/^TV/r A XT TXTO'T'TT*TTT*'n' to me, for I know how alluring are the French orous and strong, tingling with enthusiasm and i UJilN I DU W UiVlAIN iiMblliUillr girls. Nor could I help conceding the truth in good cheer and how to see the whole wide world | 615 West 43d Street, 103 15 the assertion of a competent Franco-American full of splendid things just for her. New York, N. Y. , . , * Please send me^ postpaid, free of cost and with- 1 out any obligation on my part, Madame Juliette obtain Madame Farads little book “How,” free, you may fill out the coupon and i Fara’s little book entitled “How.” iffipOrtCIfli send in ; or you may write by letter or postcard requesting it. Address as below: s GENTLEWOMAN INSTITUTE ' X::: : ' : : :: (Eighty-five) NERVE EXHAUSTION MOTION PICTURE CLASSIC Civilization’s Greatest Danger The wonderful organ we term the Nervous System consists of countless millions of cells. These cells are reservoirs containing a mysterious energy we call “Nerve Force,” and, as the great scientist. Sir William Osier, explains, the volume of Nerve Force stored, represents our “Nerve Capital.” Our Nerve Capital represents the sum-total of all our powers, for every muscle and vital organ is regulated and receives its impulse of life through the nerves. Sever the nerves leading to an organ, and that organ will become paralyzed and useless. Permit your Nerve Capital to be- come exhausted, and the entire vital machinery will act feebly and become deranged. You may violate Nature’s laws in the matter of exercise, eating and abuse the body otherwise, and yet live to be very old and retain a fair degree of health, but there is yet to be born a person with a constitution so strong that he will not break down in a few weeks under intense nervous strain. This proves conclusively the truth of the statement made by that eminent British authority on the Nerves, Dr. Alfred T. Schofield, namely, is my belief that the greatest single factor in the maintenance of health is that the nerves should be in order. ” Watch Your Nerves! When you see red blood escaping you know that your vitality is escaping with it, and you promptly stop the flow. Millions of people live on, indifferent to the loss of vital power even more serious than the loss of blood — the LOSS of NERVE FORCE. Guard your nerves as you would the most pre- cious thing you possess. They mean everything to you — your Happiness, Health and Success in Life. Through them you experience all that makes life worth living, for when your nerves “blow up,” life is not worth living. The finer your brain is, the more delicate are your nerves and the greater is the danger of Nerve Exhaustion. What Readers Say : Read the BOOK Nerve Force “I have gained 12 pounds since reading your book, and I feel so energetic. I had about given up hope of ever finding the cause of my low weight.” “Your book did more for me for indiges- tion than two courses in dieting.” “Send me fifty more copies of your book. I wish to have them rebound in the most expensive leather cover and embellished, and give them to my friends for Christmas.” A woman writes: “Your book has helped my nerves wonderfully. I am sleeping so well and in the morning I feel so rested.” “The advice given in your book on re- laxation and calming of nerves has cleared my brain. Before I was half dizzy all the time.” A physician says: “Your book shows you have a scientific and profound knowledge of the nerves and nervous people. I am recommending your book to my patients.” A prominent lawyer in Ansonia, Conn., says: “Your book saved me from a nervous collapse, such as I had three years ago. I now sleep soundly and am gaining weight. I can again do a real day’s work.” This book teaches how to Soothe, Calm, and Care for the Nerves, and how to prevent Nerve Exhaus- tion. The only way to judge the real value of this book is to read it, which you may do at the author’s risk. In other words : if it does not meet your fullest expectations, return it, and your money will be refunded, plus your outlay of stamps. The au- thor has advertised his various books on health subjects in this and other magazines for the last 20 years, which is ample proof of his responsibility. Over a million copies have been sold. Doctors recommend them to their patients and large Cor- porations buy them in quantities to give to their executives and other employees, so that they may profit by the common sense advice given and attain greater Nerve Force and higher efficiency. Send for the Book Today. PAUL VON BOECKMANN Studio 124 — 110 West 40th Street New York City nerve FORCE Cl ".’ii irpij The Celluloid Critic i {Continued from page 82) (Fox), is a symphony in revenge. Henn Benton ruins George Arnold and sene him to prison. Thereafter, for fiv* whole reels, he is on the verge of stran gulation by the vengeful George, who is of course, no other than Farnum. Fi nally George, Henry and the girl th villain longs to marry are cast away oi a desert island. The young womai comes to love George and everythin] ends festively when Henry falls over convenient cliff. Personally, the hyper red-blooded Farnum rather bores us, bu “The Man Hunter” is well directed Frank Lloyd. For the first time in ou recollection a shipwrecked hero accumu lates whiskers. “Mrs. Wiggs of the Cabbage Patch, (Paramount), will probably entertaii you if you like that sort of thing. Yoi know — homely optimism amid a back ground of goats, tin cans, mud and ma trons at washtubs. This is all very well but we personally prefer Corinne Grif fith or May Allison. This photoplay, b; the way, may confuse admirers of Alic Hegan Rice, for it is a combination o “Mrs. Wiggs” and “Lovey Mary,” wit Lovey and Miss Hazy played up an Mrs. Wiggs completely soft-pedalec Marguerite Clark is the Lovey and agai she fails to approach her screen work o. a year ago. Let us confess that “The Wicked Dai ling,” (Universal), gave us our fir: glimpse of Priscilla Dean. We were di: appointed. Miss Dean’s hair isn’t nearl as temperamental as her pictures ind: cated — or perhaps she is wearing it different way. The wicked darling is belle of the underworld who falls in lo'v with a chap from the social set. Thei is a pearl necklace everybody tries steal, revolver combats and other mek dramatic incidentals. Naturally, thinj end happily for the wicked darling. W, found our interest wavering all thru. ; strikes us, on observing her in one pi! ture, that Miss Dean is essentially comedienne. But Universal doesn’t see: to agree with us. Alla Nazimova misses fire all thi “Out of the Fog,” the screen version ( H. Austin Adams’ stage drama, “ ’Cej: tion Shoals.” This, also, has been to’ in story form in The Classic. The lor story of the untamed little girl of lonely lighthouse rock should have deve oped into a gripping and colorful sere* piece. But all thru Mme. Nazimova seen to just fall short of striking a big, coi vincing note. Is she never to equal h vivid grisette of “Revelation” ? Albe Capellani’s direction presents unexpect( limitations. For instance, when a stor appears to be raging at the windows i the lighthouse interiors, outside flash i indicate decidedly placid weather. Ai there are other lapses. We liked fli work of Henry Harmon as the grim 6i keeper of the light. Will the Nazimova of “Revelation” r turn in the coming “Red Lantern”? Let’s hope so. (Eighty-six)A RVIRBISBPimiRPCT IBIIIIIBIIIWIIIIiailllll Watch Your Newstand for The Next Issue of The Motion Picture Magazine On the cover of the June Motion Picture Magazine will appear a painting which we do not hesitate to say is the most beauti- ful ever offered to the public. Watch for this beautiful cover portrait of Olive Thomas. Among the feature articles of the month, is the first interview obtained with IRENE CASTLE since she returned from abroad and placed her signature on a new contract to do pictures for Para- mount. TOM FORMAN At the very beginning of the war, Tom enlisted. From start to finish, he has done his duty re- gardless of self. For this reason Motion Picture Magazine wishes to place the seal of its ap- proval on his work. Kenneth McGaffey has written a fine, in- ftimate study of this young actor. ^ CHARLES CLARY !i Everybody has been asking for 'm interview with Charles Clary and in the June issue of Motion Picture Magazine they will be told all about him, his personality, his likes and dislikes — bis real self. BESIDES hese bright personality fstories, he Motion Picture Magazine or June will discuss all the new )hases in the industry. There will le three of the season’s greatest wtion stories and the newest and Host beautiful photographs of tage and screen favorites obtain- ible. :« MOTION PICTURE MAGAZINE i75 Duffield St. A Clear Skin Or Monetj Peturned ' Yo u N g’s VICTORIA CREAM 20 DAYS’ Will improve your skin more than any jn,., other cream you have ever used. We InlAL guarantee it to take away pimples, freckles and brown spots, and keep the skin soft and clear. If your skin needs a good cream try this one. Enough, for 20 days’ trial for this adv. and ten cents in silver. Large jar 60 cents at your druggists or from us if he cannot supply you. F. H. Yovirtg &. Co., 35 Dorr St., Toledo, Ohio FACES MADE YOUNG The secret of a youthful face will • be sent to any woman who has any kind of a facial disfigurement caused by age. Every woman who has a single facial defect should know about these remarkable Beauty Exercises which remove wrinkles, crow’s feet, fill up hollows, give roundness to scrawny necks, clear up sallow skins and restore the Chaim of girlhood beauty. No creams, massage, masks, plasters, straps, vibra- tors or other artificial means. Results Guaranteed Write for this Free Book which tells just what to do to make your complexion smooth and beautiful. Write Kathryn Murray, Inc., 53K Garland Bldg., Chicagoi Illinois A Brand New Set of Players^ Portraits Larger, Finer and More Attractive than Previous Offers I and MOTiorR^TnprrvTc”^ to our readers to buy Motion Picture Magazine = 4- £ ■ 1 Classic direct by mail, we have for two years been in- I eluding a set of eighty players’ portraits with a year’s subscription. i fhnt changes have taken place among the players I that this set had become old and out of date. ^ piayers S subsdSmd dkcontinued our offer of eighty portraits, and have I twe“rkading p^ I SDechUnsU-urtio?.! are done in sepia by rotogravure, in accordance with our ■ ffm ^ instructions, and are as high-grade as this process of printing, which is I famous for Its artistic results, can produce. s, wnmnis I You will like these pictures. You will enjoy framing them to decorate I your room or den. You will be proud in their possession. I ^ complete set with a year’s subscription to either the g Motion Picture Magazine or Motion Picture Classic. * Will cost you forty cents less to buy your magazine by the year direct than monthly at your dealer s. In addition, you will obtain a set of these attractive pictures. a loniiiiiiiBiiiiii Brooklyn, N. Y. B Why not write today to reserve a set for you? attached coupon. LIST OF Be sure to use the Mary Pickford Marguerite Clark Douglas Fairbanks Charlie Chaplin William S. Hart Wallace Reid Pearl White Anita Stewart SUBJECTS Theda Bara Francis X. Bushman Earle Williams William Farnum Charles Ray Norma Talmadge Constance Talmadge Mary Miles Minter Clara Kimball Young Alice Joyce Vivian Martin Pauline Frederick Billie Burke Madge Kennedy Elsie Ferguson Tom Moore COUPON ■ Canada $2.40 2.40 4.10 Foreign $3.00 3.00 S.50 B SUBSCRIPTION PRICES S Magazine $2’.Oo' M 2.00 ■ 3.50 = M. P. PUBLISHING CO. ^ 175 Duffield Street, Brooklyn, N. Y. ■ Gentlemen; Kindly enter my subscriotion to the PICTURE MAGAZINE , M ■ j ^ ® MOTION PICTURE CLASSIC year. ■ ^ Also please send me at once a set of the twenty-f our players’ portraits. Enclosed find $ inpayment. | Date Name Address uiqiiiiniiiiHiiiiiBiiiiiBiii 1 !8~$50 >64 $45 INVEST IN AJH^EJIUJ WH^^E DIAMOND t}.nV{On& Z(^.l Maiden laneMe\^rork Select all your Diamond and Jewelry gifts from our Catalog No. 16L. Send your order to us for prompt shipment. Your credit is good. We trust you for all the goods you want on the LYON CHAKGE-ACCOUNT-PLAN You pay nothing' in advance — not one cent. Shipments are made at our expense and risk. You examine first and only after satisfied you send 20% as first payment. Then, send only 10% monthly — at the rate of a few cents a day. You get full protection under our 8% YEARLY DIVIDEND OFFER Every “Lyon" Diamond is backed by our binding guar- antee, covering the quality and value. MORE than that. On the exchange of any “Lyon" Diamond for a larger one. you get 8% YEARTA' INCREASE IN VALUE— 8% per annum MORE than what you paid. OUR 75 YEARS* REPUTATION guarantees you honest goods at lowest prices. If our goods don't represent SUPERIOR VALIiE, return at our ex- pense. No obligation, annoyance or red-tape. You don't pay a cent until you are pleased beyond your expecta- tions. Send tO' Dept. 16L for our 80 page Bargain Catalog. Investigate our Remarkable Offer. Let us explain how you can earn an EXTRA BONUS. 10% Discount on all Cash Purchases. MOTION PICTUR The Extra Girl Invades Another Courtroom {Continued from page 80) “Of whom?” I questioned. “Why, of Miss Reed, of course. Whe I showed it to her she said, ‘Blythie dea I shall certainly have to see that you gi into pictures at once — and stay there ii definitely.’ Isn’t she adorable?” Just then there was a tap at the door “Getting made up all right, Blythie Miss Reed inquired. “Goodness, girl aren’t you about stiff?” she inquire when she had been in the room lor enough to have her breath form dramat icicles which hung gracefully in midai We were. The boiler had taken upon itself to burst the previous evenin the way boilers frequently do the nig before a particularly cold day when the is an evening dress scene to be taken, a few minutes Miss Reed was in const tation with the powers that be. Preside Bimberg and all, and shortly afterwa our toes began to thaw under the w* coming glow of the electric stove th was decorating the floor. The cabaret scene was of the usr picture variety, where every one laug and makes merry, a few drink cele tonic that registers champagne — als the poor tonic will lose its main exct for living after July first — and no o eats. Of course, we had to remove our coi when the director said “Picture !” i what fan would enjoy seeing a heatl< as well as a meatless cabaret even t Florence Reed — and I — graced 1 screen ? “John, Fred, Jack Holbrook, coafS Miss Reed called, as soon as the camiy had stopped grinding. “Well, anyw' the idea, John Stahl, of your direct] with your overcoat and gloves on !” “Very well, dear lady, I will take thi off at once,” he laughed, as he wrapjj the star in overcoats that seemed come from every corner of the studicjl “It’s a case of ‘The Woman Un r] Coats’ instead of under oath, isn’t iiiy she said. “Now, John, dont get my ijT mussed up with that collar. Speaking! hair, mine seems to be puzzling a mf her of people. After every matineJj find a group of girls outside the stj door, evidently movie fans, bent u ij discovering what sort of locks I weai ^ the street.” “And then I suppose you pull your ^ away down over your ears and hustle j dont you ?” “Now, you know me better than t John. Still, it’s great to be a womai| mystery, isn’t it?” “Dont know. Never tried it,” rep] Mr. Stahl. “Coffee” and “Muffins” sat up begged for an olive and a piece of cell and as they munched the “cabaret J cials” they declared it was jolly ’|| great to be the pets of a genuine hu:| like Miss Reed, a picture star, a sj star, an actress and everything. (Eighty -eight) I Lift Corns Off! Touchy corns and calluses lift off with fingers. Doesn’t hurt a bit ! Apply a few drops of Freezone upon that old, touchy corn. Instantly that corn stops hurting. Then shortly you lift that troublesome corn right off, root and all, without pain, soreness or irritation. «iil Ii A few cents buys a tiny bottle of Freezone at any drug store, sufficient to remove every hard corn, soft corn or corn between the toes, and the painful calluses and hard skin from the bottom of the feet. Just try it! Keep Freezone on dresser and never let a corn ache twice CLASSIC Sugar and Spice and Everything Nice {Continued from page 51) “Hello, dear!” she greeted us. “Can y^ou find a chair?” I The chorus-girls, far too comfortably ensconced in the star’s dressing-room to iremove themselves, somewhat impaired ny powers as an interviewer. So I 5tudied my surroundings. The walls ivere plastered with telegrams of con- jjratulation from critics, producers, prom- inent men, other actresses and actors. jHere indeed was all the glamor of the “'heater. That Smith girl said you were only in understudy once ; that’s not true, is it, Collie?” quoth the chorus-girl in Alice [i)lue. , “No, dear, it isn’t,” said Mollie, as she jwisted her golden locks into the precise hape she wished. ^ And that Gray girl — you know, the one |/ho has a husband and baby, and swears jhe hasn’t — she got turned out the other lay. They say she drank.” The lady II brown spangles rolled this delicious lorsel of gossip slowly between her yimsoned lips. Now, that s too bad. Cant anything e done for her?” said Mollie, carefully dding the last touches of make-up to er peach-like complexion. “Nope; guess she’s too far gone for lat,” harpied the third guest, as she ilped herself to the box of cigarets re- osing on Mollie’ s table. Want one?” she ofifered us, gener- usly. We gave up in despair. For a moment e held Mollie’s perfumed little hand in _irs, then we hurried away — out past a pw of the principals and chorus-girls 'itting final pins in their elaborately scollete costumes. The atmosphere was arked by a lack of worry. If the over- ye was finished, why, the musicians )uld play another bar. W^hy worry Out in front, I reached my seat under irkened lights. " Suddenly the spotlight flashed on. An audible gasp ran around the semi- rcular audience. In the middle of the ige stage there stood, all alone, a slen- ^;r figure clad in pure shimmering white ;tin, a touch of coral beads spanned At white shoulders. It was the daz- ing, cameo-like beauty of the girl’s face, ;amed under the huge picture hat of 'ral-colored velvet, that accounted for gasps. Had she done nothing more than stand lere and let them look at her, the fdience would have been satisfied. She stepped forward and smiled . fe took the audience into her confi- ou may pay for it in small monthly payments. taire is the essence of good taste. The Lachnite gem weighs about 1 carat. De|K)sil with postmatJ . . . $4.75 Monthly payment Total Don t send a penny. vVear this ueaiitiiul 15*jewel, hand engraved, ladies’ wrist watch ten days free. If you keep it, pay a small sum each month. Up to date, gold dial. Guaranteed high class movement. Watch and bracelet heavy gold hlled, guaranteed more than twenty years. Shipped in handsome velvet case. When the watch comes just deposit $6.00 with the postman. If, after ten days, you decide not to keep it, deposit will be refunded immediately. If you keep it, pay only $3.00 per month until $24.00 has been paid. Don’t lose this chance. Send the coupon today. Monthly payment 2.50 Total 20.00 7B 3717 Heavy weignt, nanu en- graved. solid gold, aristocrat model ring, set with sparkling Lachnite weighing about 1 ct. Deposit with postman. . .$5.75 Monthly payment 2.i?5 Total 22.50 V When the ring comes, just make the first small deposit with » loll the postman. This is merely a depasit. If you send the ring back within ten days your deposit will be refunded immediately. If you keep it, the price list shows the small sum you pa}' each month. m V Just send your name and number of the ring. Be sure to I huger size. Cut a strip of paper that will ^ M 'he middle knuckle of your ring hngei. Send coupon now for a Lachnite on 10 days’ free trial. HAROLD LACHMAN CO., Dept. A- 155, 12 North Michigan Avenue, Chicago, 111. Ipillpilll No. 7B 3704 me eigiu neavy prongs of this superb solid gold ring hold a brilliant Lachnite gem weighing about % ct. Deposit with postman ... $4.75 Monthly payment 2.50 Total 18.75 Harold Lachman 12 No. Michigan Avenue \ ] Dept. A- 1 55 Chicago, .Send postpaid, for ten days’ free trial ^ Ring No \ T-adies’ Wrist Watch N When it comes I will deposit $ with the postman. After ten days’ trial, I will either return the article to you and you are to return ^ promi)tly every cent of my deposit or I will kee]> it and pay you $ a month until full firice has been paid. I enclose my finger size. Name /Id dr ess rtow I Improved My Memory In One Evening The Amazing Experience of Victor Jones “Of course I place you! Mr. Addison ms of Seattle. “If I remember correctly — and I do member correctly — Mr. Burroughs, the mberman, introduced me to you at the ncheon of the Seattle Rotary Club three lars ago in May. This is a pleasure deed ! I haven’t laid eyes on you since at day. How is the grain business ? And )w did that amalgamation work out?” The assurance of this speaker — in the owded corridor of the Hotel McAlpin -compelled me to turn and look at him, ough I must say it is )t my usual habit to isten in” even in a )tel lobby. “He is David M. Roth, most famous memory pert in the United ates,” said my friend ennedy, answering my estion before I could it out. “He will ow you a lot more Dnderful things than at, before the evening over.” And he did. As we went into the ban- et room the toastmaster s introducing a long line the guests to Mr. Roth, got in line and when it me my turn, Mr. Roth ked, “What are your in- als, Mr. Jones, and your business connection d telephone number?” Why he asked this, I rned later, when he picked out from the wd the 60 men he had met two hours before d called each by name without a mistake, hat is more, he named each man’s business d telephone number, for good measure. I won’t tell you all the other amazing things is man did except to tell how he called back, thout a minute’s hesitation, long lists of imbers, bank clearings, prices, lot numbers, reel post rates and anything else the guests ve him in rapid order. When I met Mr. Roth — which you may be re I did the first chance I got — he rather wled me over by saying, in his quiet, modest |ay: “There is nothing miraculous about my re- embering anything I want to remember, iether it be names, faces, figures, facts, or mething I have read in a magazine. "You can do this just as easily as I do. Any- le with an average mind can learn quickly do exactly the same things which seem so iraculous when I do them. “My own memory,” continued Mr. Roth, ras originally very faulty. Yes it was — a ally poor memory. On meeting a man I mid lose his name in thirty seconds, while w there are probably 10,000 men and women the United States, many of whom I have Et but once, whose names I can call in- mtly on meeting them.” “That all right for you, Mr. Roth,” I terrupted, “you have given years to it. But w about me?” (Three) “Mr. Jones,” he replied, “I can teach you the secret of a good memory in one evening. This is not a guess, because I have done it with thousands of pupils. In the first of seven simple lessons which I have prepared for home study, I show you the basic principle of my whole system and you will find it — not hard work as you might fear — but just like playing a fascinating game. I will prove it to you.” He didn’t have to prove it. His Course did ; I got it the very next day from his publishers, the Independent Corporation. When I tackled the first lesson, I suppose I was the most surprised man in forty-eight states to find that I had learned in about one hour — how to remember a list of one hundred when I got into a crowd of people who knew things. Now I can call up like a flash of lightning most any fact I want right at the instant I need it most. I used to think a “hair trigger” memory belonged only to the prodigy and genius. Now I see that every man of us has that kind of a memory if he only knows how to make it work right. I tell you it is a wonderful thing, after groping around in the dark for so many years to be able to switch the big searchlight on your mind and see instantly everything you want to remember. This Roth Course will do wonders in your office. Since we took it up you never hear anyone in our office say “I guess” or “I think it was about so much” or “I forget that right now” or “I can’t re- member” or “I must look up his name.” Now they are right there with the answer — like a shot. Have you ever heard of “Multigraph” Smith? Real name H. Q. Smith, Divi- sion Manager of the Mul- tigraph S al e s Company, Ltd., in Montreal. Here is just a bit from a letter of his that I saw last week; “Here is the whole thing in a nutshell; Mr. Roth has a most remarkable Memory Course. It is simple, and easy as falling off a log. Yet with one hour a day of practice, anyone — I don’t care who he is — can improve his Memory 100% in a week and 1,000% in six months.” My advice to you is don’t wait another minute. Send to Independent Corporation for Mr. Roth’s amazing course and see what a wonderful memory you have got. Your divi- dends in increased earning power will be enormous. Victor Jones Send No Money So confident is the Independent Corporation, the publishers of the Roth Memory Course, that once you have an oppor- tunity to see in your ovm home how easy it is to double, yes, triple your memory power in a few short hours, that they are willing to send the course on free examination. Don’t send any money. Merely mail the coupon or write a letter and the complete course will be sent, all charges prepaid, at onca If you ai-e not entirely satisfied send it back any time \vithin. five days after you receive it and you will owe nothing. On the other hand, if you are as pleased as a.re the thousands of other men and women who have used the course send only $5 in full i^yment. You take no risk A/f,- A/r,.A/f,^*-»,..« 14. « UU 4.^^ and you have everything to gain, so mail the coupon now M.r. JVlcM.antlS dicln t put it a bit too strong. before this remarkable offer is withdrawn. The Roth Course is priceless ! I can abso- lutely count on my memory now. I can call FREE EXAMINATION COUPON the names of most any man I have met before — and I am getting better all the time. I can i • remember any figures I wish to remember. Indcpcndcilt CorpOratlOll Telephone numbers come to mind instantly, ^ t j . j .nr r.; once I have filed them by Mr. Roth’s easy ^ v v method. Street addresses are just as easy. ’ .t, ^ p .1, m ' r rr>i r £ r i Y .. Please send me the Roth Memory Course of seven The old fear of forgetting (you know what lessons. I will either remail the course to you that is) has vanished. I used to be “scared within five days after its receipt or send you $5 stiff” on my feet — because I wasn’t sure. I i" tuH payment of the course, couldn’t remember what I wanted to say. Now I am sure of myself, and confident, and Name “easy as an old shoe” when I get on my feet at the club, or at a banquet, or in a business Address meeting, or in any social gathering. Perhaps the most enjoyable part of it all is that I have become a good conversational- ist— and I used to be as silent as a sphinx M. P. Classic — 6-19 words so that I could call them off forward and back without a single mistake. The first lesson stuck. And so did the other six. Read this letter from Terence J. McManus, of the firm of Olcott, Bonynge, McManus & Ernst, Attorneys and Counsellors at Law, 170 Broadway, and one of the most famous trial lawyers in New York: “May I take occasion to state that I regard your service in giving this system to the world as a public benefaction. The wonderful simplicity of the method and the ease with which its principles may be acquired, especially appeal to me. I may add that I already had occasion to test the effectiveness of the first two lessons in the preparation for trial of an important action in which I am about to engage.” And remember that ANY Paramount or Artcraftf picture that you haven’t seen is as new as a book ^ you have never read. These two trade-marks are the sure way of identifying Paramount and Artcraft Pictures — and'the theatres that show them. X FAMOUS PLAYERS -LASKY CORPORATION T Anni DU 7t1u’r^D ¥rec»? i v « ADOLPH ZUKOR Prey JESSE L.LASKY Vice Pr^ CECIL B. DE MILLE DrmctprCeneml \ r-NEW YORK^ • J laisted alphabetically, released up to April 30lh. Save the list! And see the pictures! Paramount John Barrymore in "The Test of Honor" *Enid Bennett in "The Law of Men" Billie Burke in "Good Gracious Annabelle Lina Cavalier! in "The Two Brides" Marguerite Clark In "Let's Eloi>e" Ethel Clayton in "Pettigrew's Girl" •Dorothy Dalton in "The Home-breaker" Pauline Frederick in "Paid in Full" Dorothy Gish in "Peppy Polly" Lila Lee in "Bustling a Bride" Vivian Martin in "Little Comrade" Shirley Mason in "The Bescuing Angel" *Charles Ray in. "Greased Lightning" Wallace Reid in. "The Boaring Boad" Bryant Washburn in "Something to Do" [Paramount Artcraft Specials “Private Peat" with Private Harold Peat “Little Women" (from Louisa M. AlcotVs famous hook) A Wm. A. Brady Production ‘^Sporting Life” A Maurice Tourneur Proiluction "The Silver King"srurnng William 3''aversham "The False Faces" A Thos. H. luce Production Artcraft Enrico Caruso in "My Cousin" George M. Cohan in "Hit the Trail Holliday" Cecil B. de Mille’s Production "For Better, For Worse" Douglas Fairbanks in "Arizona" Elsie Ferguson in "Eyes of the Soul" D. W. Griffith's Production "The Girl \Vho Stayed at Home" *Wllliam S. Hart in "The Poppy Girl’s Husband" Mary Pickford in "Captain Kidd, Jr." . Fred Stone in ? "Johnny Get Your Gun"J Paramount Comedies Paramount'Arbuckle ComedyJ "Love": Paramount- Mack Sennett Comedies "The Foolisli Age" J "The Little Widow" Paramount-Flagg Comedy "The Last Bottle"! Mr. and Mrs. Sidney Drew in> "The Amateur Liar" ^Supervision of Thomas H. Ince Paramount- Bray Plctograph — One each week \ Paramount- Burton Holmes Travel Pictures — One each week: (Four) The Curtain of Life IHE screen draws back the curtain of life, unveiling the thoughts, loves, passions and ideals of hu- manity. In fact, the secret of the fascination of Paramount and A rtcraft Pictures is that they show you yourself as you really are, or as you might be. Every man and woman, high or low, rich or poor, can sometimes find the very features of his own character. Year after year Famous Players -Lasky Corporation draws together the greatest talent of the screen, of the theatre, of literature, and gives out the results of all this concentrated genius in the form of an ever-changing stream of photo-plays — dramas, comedies, travel pictures. And the greatness of the organization behind Paramount and Artcraft makes possible the exhibition of fine motion pictures in thousands of theatres regularly. In every city and every village, every afternoon and evening, eager audiences find “the curtain of life” drawn back at that nearest good theatre which shows Paramount and Artcraft Pictures. You never take a chance if you go by the brand name ! Vol. Vlll JUNE, 1919 No. 4 THE July Classic For mid-summer The Motion Picture Classic is assembling an ideal number — light, bright and vivacious, with several timely and absorbing articles to balance the July atmosphere. Elliott Dexter — The able Para- mount leading man is about to become a star. The July Classic will present an up-to-the-minute chat with him. June Elvidge — A breezy little interview, with special pictures, has been captured for the mid- summer number. Louise Lovely — The lady with the chocolate eclair name makes interesting copy. You’ll be ab- sorbed in her personality story. Gloria Swanson — Is anybody more interesting to film fans right now than Gloria? Here is the first heart-to-heart talk with one of the most promising of screen actresses. and A fascinating article about the Martin Johnsons, who are taking motion pictures to show to the cannibals of the South Seas. Be- sides a dozen or so other features, there will be an important an- nouncement about The Fame and Fortune Contest. along with Hundreds of stunning new pic- tures. The Classic has its own photographers both East and West waiting to catch the unu- sual. Small wonder that The Classic is now recognized as the livest and most beautiful of mo- tion picture magazines. THE MOTION PICTURE CLASSIC 175 Duffield Street Brooklyn, N. Y. (Five) OTVTEtTSLT S OI=f' IVlO'T'I OlSl Picture; Classic THE GIRL ON THE COVER (Painted by Leo Sielke, Jr., from a Portrait by Lumiere) Mabel Juliene Scott was born in Minneapolis, of Nor- wegian and French parentage, to which may be traced her hardy Norse vigor and Parisian vivacity. She graduated from stock into vaudeville, where she attained considerable success. Then came motion pictures and her unusual hit as Necia in Rex Beach’s “The Barrier.’’ Miss Scott is at her best in portray- ing the outdoor type of primitive girlhood. Gallery of Popular Players. Rotogravure studies of Bert Page Lytell, Irene Castle, Clara Kimball Young, Louise Huff and Wanda Hawley 11-15 What the Photoplay Might Do. Interesting suggestions from the able producer of the legitimate theater, Stuart Walker Charles Jameson 16 The Patrician of the Photoplay. Elsie Ferguson is a blending of fragile beauty and cerebric 'vigor ... .Frederick James Smith 18 Don Pedro de Cordoba. Of Spanish and French parent- age is the fascinating leading man Faith Service 20 The Screen as a Repertoire Theater. Business methods of the films and stage interestingly contrasted Kenneth Macgowan 22 A Mansfield of the Follies. It’s the glorious Martha.... C. Blythe Sherwood 23 Standing Room Only. But Wyndham, being a huge Englishman, requires plenty of it Barbara Beach 24 A Star Who Really Did Her Bit. Edith Storey, who has been driving a war ambulance for many months Harrison Haskins 26 Redhead. Alice Brady’s newest photoplay of a Titian- haired cabaret belle told in fiction form Faith Service 27 Shot at Dawn. A brief glimpse of Hazel Aileen St. John-Brenon 31 Who Put the True in Truex? Ernest and his home life Esther Elvidge 32 Those Shelby Girls. The daily life of Mary Miles Minter and her sister, Margaret Shelby Fritsi Remont 34 Summer in the New York Theaters. Interesting Moments on the Broadway Stage in the Month of June 36 The Gown Quest. The dress problem of a star, as told by Bessie Barriscale Marie B. Schrader 38 The Witness for the Defense. Short story related from Elsie Ferguson’s newest photoplay of mystic India Dorothy Donnell 39 A Hale Fellow Well Met. Sur-r-re, in this case it’s Creighton, who was born in Cork, Ireland Sue Roberts 43 The 1919 Bathing Girl Arrives. Introducing the Mack Sennett seaside favorites in their newest maritime poses . 44 46 The Celluloid Critic. The latest photoplays in revi^-w . .Frederick James Smith The Luxurious Louise. The real Miss Glaum as she is beside her own fireside Mary Keane Taylor Beauties From Every Land Enter Contest. The eighth honor roll of the Fame and Fortune Contest The Man Who Turned White. Story based on H. B. Warner’s first return-to-the-screen photoplay Olive Carezv The Extra Girl Almost Becomes a Cabaret Entertainer. The first Creighton Hale-June Caprice comedy in the making Ethel Roseinon The Influence of June Upon a Mere Onion 57 Double Exposures. Humorous Comments Upon the Screen Plays and Players Conducted by F. J. S. The Movie Encylopedia. The Answer Man 48 50 52 56 60 83 Published monthly at 175 Duffield Street, Brooklyn, N. Y. Subscription, $2.00 a year, in advance, including postage in the U. S., Cuba, Mexico, and Philippines; in Canada, $2.30 a year; in foreign countries,^ $3.00. Single copies, 20 cents, postage prepaid. One-cent stamps accepted. Subscribers must notify us at once of any change of address, giving both old and new address. . Entered at the Brooklyn, N. Y., Post Office as Second-class Matter. Copyright, 1919, by the^ M. P. Publishing Co., in the United States and Great Britain, a New York corporation, with its principal offices at Bayshore, N. Y. ^ Eugene V. Brewster, President; J. Stuart Blackton, Vice-President; Guy L. Harrington, Vice-President; E. M. Heinemann, Secretary; Eleanor V. V. Brewster, Treasurer. STAFF FOR THE CLASSIC; Eugene V. Brewster, Managing Editor; Frederick James Smith, Literary Editor Dorothy Donnell, Robert J. Shores, Edwin M. La Roche, Fritzi Remont Associate Editors Guy L. Harrington Business Manager Duncan A. Dobie, Jr Advertising Manager King Western Manager Metz B. Hayes New England Manager MOTION PICTURE CLASSIC This magazine comes out on the 15th of every month. Its elder sister, the Motion Picture Magazine, comes out on the first of every month. Both are on sale at all newsstands in the English-speaking world. llJWIJMTlgTJHIEgilSnMIMUlBLDRL 'Cratnmg jov /Tulhorsliip •HoW to Write, Whatto Write, and WKere to sell. CulKVole your mind. DeVelop youv litemry ^tfts. Master tkc ai4 of self^cjCpvession.MaUc youv spare time profitable^ mvn youv ideas into dollars. Courses in Short*Story Wyit* ing. Versification,. Joumalisipj Play -Writing,’ Photoplay , Writing,*^ etc., ^ taught pecaon* Dr.EscnWcm ally by Dr. J. Berg Esenwein,' for many years editor of Lippincott’s Magazine, and a staff of literary experts.' , Constructive criticism; Frank, .honest, helpful^advice. Real teaching* One pupil has received over $5,000 for stone* and articles written mostly in spare time~“play work,** he calls it Another^ pupil received over $1,000 before completing her first course. Another, a busy wife^ and mother, is averaging over. $75 ’ft , week . froia photoplay writing alone. There is no o^er institution or agency doing so much for writers, young or old. The^universities recognize this, for over one hundred members of the English faculties of higher institutions are studying in our Literary Department The editors recognize it for they are constantly recommending our courses. We publish The Writer's Library. We also publish Thel Writer's Monthly, especially valuable for its full reports of, the literary market. Besides our leaching service, we offer manuscript entidsm service. 150*page iUu8trated*%atatogue free Plta$€ odJtM Home Correspondrace School Dep't 112 SpringJleld.Mass. CSTaslisheO i8£>7 incouporatco i9o4 TMT:)WUKIJWIJWIJI-LIJM.IJK.IJM.IJM,ngTjS Write the Words For a Song Write the words for a song. We revise song-poems, compose music for them, and guarantee to secure publication on a royalty basis by a New York music pub- lisher. Our Lyric Editor and Chief Com- poser is a song-writer of national reputa- tion and has written many big song-hits. Mail your song-poem on love, peace, vic- tory or any other subject to us today. Poems submitted are examined free. BROADWAY COMPOSING STUDIOS 107-E Fitzgerald Bldg., Broadway at Time, Square, NEW YORK BowiGgged Men Your legs will appear straight when you wear Straightleg Garters Remarkable invention — Combination hose- srupporter and pant-leg Straightener — Quickly adjusted to fit various degrees of bowlegs; as easy to put on and comfort- able to wear as any ordinary garter — no harness or padded forms; just an ingenious special garter for bowlegg^ men — improves appearance wonderfully, Bowlegged men everywhere are wearing them; enthusiastia Write for free booklet, mailed In plain envelope. S-L GARTER CO. 717 Trust Co. Bldg.. DAYTON. OHIO 10-Piece Manicure Set Whatever else you use for your nails you need Gladhand Nail Health, too. It not only smooths and softens the cuticle, facilitating its removal without cutting, but is a treatment for ridged, fluted, cracked, or discolored nails. Imparts an enameled finish that stays on despite washings. Gladhand is but one of the desirable products in this remarkably complete, though inexpensive outfit. It contains cwory requisite for 100 complete manicures, including Gladhand Nall Health, nail enamel, nail bleach, chamois buffer, nail file, etc. Tou may have Gladhand Nall Health alone in large jar for 25 cents, postpaid. Or entire set sent in serviceable telescope box. postpaid, for $1.00. Guaranteed satisfactory — or money refunded. This intro- ductory offer soon to be withdrawn. Order today. IVORY MANICURE SPECIALTY COMPANY 852 Broadway, 105 A. Brooklyn, N. Y. Buy U. S. War Savings Stamps Stage Plays That Are Worth While (Readers in distant towns will do well to preserve this list for reference when these spoken plays appear in their vicinity.) Astor. — Fay Bainter in “East Is West.” The story of a quaint little Chinese maid who falls in love with a young American and, just when racial barriers seem insurmountable, turns out to be the daughter of a white missionary. Has all the ingredients of popular drama. Miss Bainter is picturesquely pleasing. Belasco. — “Tiger! Tiger!” Edward Knob- lock’s powerful study of the primitive in man. The story of a British Member of Parliament and a cook — and a passionate love that brooks no obstacles. Frances Starr is admirable as the servant, while Lionel Atwill gives a tremendous performance of the Parliamen- tarian. Staged with all the admirable detail typical of a Belasco production. One of the really big things of the dramatic season. Bijou. — “A Sleepless Night.” Another farce written with the idea that nothing funny ever happens outside a bedroom. The usual in and out of bed piquancy, being the tale of a guileless young woman who decides to be un- conventional and pink-pajamaed at any cost. Ernest Glendinning and William Morris ad- mirable. Peggy Hopkins is the lady in ques- tion. Broadhurst. — “39 East.” A charming comedy founded on a boarding school romance in which many interesting characters make love- making difficult for a pair of young lovers. Cohan’s. — “A Prince There Was.” George M. Cohan in an interesting role of a very entertaining comedy. He plays at a literary game in which hearts are trumps — and wins. Comedy. — “Toby’s Bow.” A delightful comedy in which Norman Trevor proves that he is a very fascinating actor. Criterion. — “Three Wise Fools.” Austin Strong’s human little drama of three crusty old bachelors who are bequeathed a young woman and who are subsequently rejuvenated. Melodrama with a heart throb. Helen Menken gives a striking performance of the nerve-racked heroine while Claude Gilling- water is a delightfully testy old Teddy Findley. Empire. — “Dear Brutus.” Written with all of Barrie’s whimsical insight into the human heart. What would you do with a second chance? Barrie takes his characters to an enchanted wood of the might-have-been, where they reveal what would have happened had they taken another road. Here is a scene of vthe rarest sentiment. William Gillette gives a compelling and haunting performance, while Helen Hayes plays the daughter who might have been with superb humanness, and the re- mainder of the cast is admirable, particularly the statuesque Violet Kemble Cooper. Taste- ful staging, especially the magic wood. Henry Miller. — “Mis’ Nelly of N’ Orleans.” Mrs. Fiske in a new comedy of moonshine, madness and make-believe, in which she again proves herself to be one of the greatest of comediennes. Excellent cast, notably Irene Haisman, who seems to have picture possi- bilities. Hippodrome. — The newest production, “Everything,” lives up to its title. It is a maze of varied attractions, ranging from dainty Belle Storey to scores of remarkable roller skaters and a stage full of tumbling Arabs. Knickerbocker. — “Listen, Lester.” Lively, dancy show with considerable humor, thanks to clever Johnny Dooley. Excellent aid is given by Gertrude Vanderbilt, Clifton Webb, Ada Lewis, Ada Mae Weeks and Eddie Garvie. Longacre. — “Three Faces East.” Another Secret Service-German spy drama, this one by Anthony Paul Kelly, one of our most success- ful photoplaywrights. The principal charm of this play is in trying to guess who are the German spies and who are the Allies, just as we were puzzled in “Cheating Cheaters” to know who were burglars and who were not. Lyceum. — -“Daddies.” Appealing little drama of three bachelors who adopt Belgian war babies. Amusing complications occur when the children develop along unexpected lines. Jeanne Eagels is quaintly pleasing in the lead- ing role. Lyric. — “The Unknown Purple.” Interesting and well sustained thriller. The story of a convict who discovers a way to make himself invisible, transforming into a purple ray, and who starts out to get revenge. The invisible man steals necklaces, opens safes and passes thru doors. Richard Bennett gives a vigorous performance of the human ray. Morosco. — “Gappy Ricks.” A capital com- edy with Tom A. Wise in a capital role which he plays capitally with a capital C. The com- pany might be better and handsome William Courtenay more sincere, but, for a’ that, the play is good. Playhouse. — “Forever After.” Alice Brady in a play of youthful love which endures despite many obstacles. Excellently acted thruout. It charms its audience into living once again the violent joys and heart-aches of youth. Republic. — “The Fortune Teller.” An in- teresting play that comes in like a lion and goes out like a lamb. Marjorie Rambeau does some really wonderful acting, the best seen in New York in years. Rest of cast not in her class and play is weak in last act. Shubert. — “Good-Morning, Judge.” Light musical show adapted — remotely — from Sir Arthur Wing Pinero’s “The Magistrate.” Built around the farcical efforts of a magis- trate to escape a raid on a lively cafe, thus being arraigned in his own court. The de luxe doll, Mollie King, is featured, and her brother, Charlie King, and George Harrell contribute excellent first aid. Vanderbilt. — “A Little Journey.” The com- ical experiences of a dozen or more interest- ing travelers on a Pullman which is finally wrecked. Excellent cast. ON THE ROAD. “The Net.” An unusually good drama, well played. Montagu Love is now appearing in this melodrama. “The Riddle: Woman" with Bertha ICalich. Problem drama from the Danish. Ladies with “pasts,” a he-vampire and much emotionalism. Kalich gives a picturesque if artificial per- formance, while Chrystal Herne and A. E, Anson make the most of their roles. “The Marquis de Priola.” Leo Ditrichstein in the best play he has done since “The Great Lover,” and in a somewhat similar part. His acting is splendid. While it is too bad to make the conquering of women the theme for a play, and a hero out of such a perfidious rep- robate as the marquis, the play is so fine that we forgive its naughtiness for its art. “Roads of Destiny.” Channing Pollock has devised an old drama from the O. Henry story. No matter what path one takes, the ultimate result is the same, is the philosophy of the drama. Florence Reed is admirable in three widely contrasted roles. “The Betrothal,” Maurice Maeterlinck’s se- quel to “The Blue Bird.” Superb production of a drama rife with poetic symbolism and imaginative insight. Remarkably beautiful se- ries of stage pictures. Excellent cast, with Reginald Sheffield as Tyltyl. “The Saving Grace.” Delightful English comedy by Haddon Chambers, brilliantly played by Cyril Maude as a cashiered British army officer trying to get back in the big war. “Old Lady 31.” Rachael Cruthers’ success- ful and human comedy of an old couple who find themselves face to face jvith the alms- house. Effie Ellsler in Emma Dunn’s role; remainder of cast is the original New York company. LEADING PICTURE THEATERS. Loew’s N. Y. and Loew’s American Roof. — Photoplays ; first runs. Daily program. Loew’s Metropolitan, Brooklyn. — Feature photoplays and vaudeville. Rivoli — De Luxe photoplays, with full sym- phony orchestra. Weekly program. Rialto. — Photoplays supreme. Program changes every week. Ntroud.— Select first-run photoplays. Pro- gram changes every week. ( Six) t1 bi I The July Motion Picture Magazine The next issue of the Motion Picture Magazine will be brimful of beautiful pictures, worth-while articles, fascinating stories and news notes covering the entire theatrical field. Among the specially written articles are : PEARL WHITE This is a genuine gem of a story showing for the first time Pearl White as she really is. FOR THE BRIDE A complete pictorial lay-out of present-day fashions which will show those happy, little, anticipa- tory brides all over the country just how to select a trousseau that will be up-to-the-minute in New York fashions. THRU THE LOOKING-GLASS Haven’t you often wondered just what foreign nations thought of us, our arts and enterprises ? In this remarkable article, the FRENCH viewpoint regarding American films is entertainingly told. MARC MACDERMOTT Every picture fan will be de- lighted with this new interview with a favorite who has remained popular from the early film days. SOLVING THE DOMESTIC PROBLEM Alice Joyce will tell just how to accomplish this difficult feat, in the July Motion Picture Mag- azine, This is just a taste of the good things. Dont forget we run the best stories of any magazine. the motion picture MAGAZINE 175 Duffield Street Brooklyn, N. Y. aXiXuT’ <£otW>v r 1 1AKE Huckleberry Finn J- and Tom Sawyer by the hand and go back to your own boyhood. Let MARK TWAIN show you the way. Perhaps you think you have read a good deal of Mark Twain ? Are you sure ? Have you read all the novels ? Have you read all the short stories? Have you read all the brilliant fighting essays ? — all the humorous ones and the historical ones ? A Bigy Human Soul Think of it — 25 volumes filled with the laughter and the tears and the fighting that made Mark Twain so wonderful. He was a boun- tiful giver of joy and humor. He was yet much more, for, while he laughed with the world, his lonely spirit struggled with the sadness of human life, and sought to find the key. Beneath the laughter is a big human soul, a big philosopher. Low Price Sale Must Stop Mark Twain wanted everyone in America to own a set of his books. So one of the last things he asked was that we make a set at so low a price that everyone might own it. He said: ‘‘Don’t make fine editions. Don’t make editions that sell for $200 and $300 and $1,000. Make good books — books good to look at and easy to read, and make their price low.” So we have made this set. And up to now we have been able to sell it at this low price. Send the coupon only — no HARPER & BROTHERS, Established 1817, Franklin Rising costs make it impossible to continue the sale of Mark Twain at a low price. New editions will cost very much more than this Author’s National Edition. You must sign and mail the coupon now. If you want a set at a popu- lar price, do not delay. This edition will soon be withdrawn, and then you will pay considerably more for your Mark Twain. Now is your opportunity to save money. money. Square, NEW YORK M.P.C. 6-19 harper & brothers ^ o Franklin Square, New Yerk. Send mo, all charges prepaid, a set of Mark Twaia’s works. In 25 ^ volumes. Illustrated, bound # in handsome green cloth, .w stamped in gold, with trimmed edges. If not satisfactory, I will ^ return them at your expense. Other- ' wise I will send you $2 within 5 days and $2 a month for 15 months. For cash, deduct 8% from remittance. Send for our special Canadian offer. Name. . Address. Occupation . To get the red, half leather binding, change terms to $1.50 within 5 days, and $4 a month for 12 months. (Seven) F you accept hosiery that you do not know 1 you can expect only “fisherman’s luck.” Sometimes you’ll get good hose — often you won’t. For who can tell by the locks how hosiery will wear? The safe guide to look for is the Holeproof L label. Make sure it’s attached. That’s the way to make sure of pheDomenal durability. Men's, 35c and upward ; IVomen's and Children’s, 55c and upward If your dealer cannot supply you, please write for illustrated book and price list f HOLEPROOF HOSIERY COMPANY Milwaukee. Wisconsin 10 Church Alley, Liverpool. England ^ 60 York Street, Sydne:^ Australia Thialahel Holeproof Hosiery Co. of Canada, Limited identifies the London, Ont. (998) oenuine To Our Readers The Motion Picture Classic guarantees the reliability and in- tegrity of its advertisers. How- ever, should there be any mis- representation whatever, notify us promptly, and either the adver- tiser or ourselves will refund your money. M. P. Publishing Co., 175 Duffield St., Brooklyn, N. Y. :VZ Price $2.^ SEND NO MONEY IF You Can Tell it From a GENUINE DIAMONDSenditback Toproye tha/b ooir blue- white MEXICAN DIAMOND closely resembles the finest genuine South African Diamond (cost- ing 50 times as much), with same DAZZLING RAINBOW- FIRE, (Guaranteed 20 yrs. ) we will send this Ladies’ Tif- fany Style Ring withonecarat gem, (Catalogueiprioe $4.98) for Half Price te Introduce, $2.50, plus War Tax, 13c. Samo thing but Gent's Heavy Tooth Belcher Ring. (Catalogue price $6.26) for $3.10, plus War Tax, 15c. Mountings aro our finest 12 karat gold filled. iMexican Diamonds are GUARANTEED FOR 20 YEARS. SEND NO MONEY. Just mail iK)stcard or this ad. , state size and wo will mail at once C. O. D. If not fully pleased, return in 2 da^vs for MONEY BACK, less handling charges. Actnuick; offer limited; only one to a customer. Write for Free Catalog. Agents Wanted. MEXICAN DIAMOND IMPORTING CO., Oepf. CAT, las Cruces, N. Mex, {.Exclusive controllers Genuine Mexica,n Dia-monds) YTI^fTI |7f 17 Hawaiian Guitar. Violin. Man- V IV \J dolin. Guitar. Cornet or Banjo Wonderful new system of teaching note music by mail. To first pupils in each locality, we’ U give a $20 superb Violin. Mandolin, Ukulele, Guitar, Hawaiian Guitar, Comet or Banjo absolutely free. Very small charge for lessons only expense. We guarantee succesf or no charge. Complete outfit free. Write at onco— no obligation. SLINGEBUNO SCHOOL OF MUSIC, Deft. 404 CHICAGO, ILL She paid it to Edward Childs Carpenter for hia story woven round the idea of the little girl who was always glad. Sell Your Rough Ideas Anbur Leeds, Editor of The Photoplay Author, wants to tell you bow to arrange ’’happy thoughts” and incidents from your own life into stories the scenario editors will be glad to^get-bow to find a buyer for your stories -how to give them a professional writer’s appearance ” - what to write - what to avoid - how much money to expect for your story. An authoritative, dollars-and-cents book for serious-minded beginners anxious to break into the movies. One line of its meaty pages may be tbc bint that will put you in. Where To Sell Your Ideas A separate brochorc. just off the press, telling you just where you can sell your stories, will be included with etch order. It gives the names and addresses of all tbc producers who want new •lories, the names of their stars and the kind of stories wanted. It answers the question, ** Who will buy my story i ” 400 pages, cloth, postpaid Satisfacti »n guaranteed ^ ^ • p_p_ 307 BROADWAY NEW YORK MOTION PICTURE CLASSl I *4 ; I DEATH OF SIDNEY DREW. Sidney Drew died at his home, 876 Par Avenue, New York City, on April 9. Deat was due to a combination of ailments. Th Drews had been playing in their stage produc' ■ tion, “Keep Her Smiling,” on tour, bein forced to close in Detroit when Mr. Drei was brought home for treatment. Mr. Drew’s fatal illness, in a large measun ■ at least, was due to the death of his sor Sidney Rankin Drew, who gave his life as ; member of the famous Lafayette Flyin; I Squadron in France. Mr. Drew bore u bravely under the shock, but the pain wa there. In a Classic interview last Decembci i he said; “It does hurt to realize that th last of the Drews is dead, that the name o Drew will die with my generation. But it i good to know that Rankin died better tha: any Drew has ever lived or died.” The screen owes a great deal to Mr. Drew i whose influence, coming at a psychologies ■ moment, uplifted film comedy to a remarkabl degree. Mr. Drew believed that the screei needed the best — and he stuck to his standard; i Moreover, he brought the best traditions o the stage to the films. A foster brother o John Drew, a foster uncle of Ethel, John anij Lionel Barrymore, and the last of a long linii of players, he brought ah honored and dis: tinguished name to the photoplay. It is prob; able that no other single influence has dom more to elevate the art of screen playing j The photoplay loses not only a splendid com edian in Mr. Drew, but a leader and a pi oneer in all that is finest histrionically. Behind the Screen Robert Gordon, fresh from U. S. A. serv ice, has been re-engaged by Commodore J Stuart Blackton for a forthcoming production in which Sylvia Breamer will also appear. Evelyn Greeley is now a full-fledged Worh Film star. Previously she has co-starred Carlyle Blackwell is said to have left Work Film. Maurice Tourneur is now at work in Cul ver City, Cal., on “Romany Rj'e,” with Jacl Holt, Lew Cody, Pauline Starke, Seena Owen Tully Marshall and Wallace Beery in thi cast. Katherine MacDonald now heads her owi producing company with a studio in Lo; Angeles. “The Thunderbolt” is the first pro duction, with Thomas Meighan, Forres Stanley, Spottiswood Aiken and Adda Glea son in the support of Miss MacDonald. Colii Campbell is the director. Work is progressing rapidly on the S. L Rothapfel unit programs. Harry Mestayei and Grace Darling play the leads in hi: first feature play. Jesse L. Lasky has purchased William Gil lette’s “Too Much Johnson,” Louis Joseplj Vance’s “The Black Bag,” and James Fagan’; “Hawthorne of the U. S. A.,” played on th<| stage by Douglas Fairbanks. Wallace Reid will film “The Black Bag.” Dorothy Phillips has renewed her Universa contract, her present arrangement terminating in February, 1921. Frederick L. Collins, president of McClun Productions, Inc., and publisher of McClure’: Magazine, is in Europe. Richard A. Rowland, president of Metro has been visiting at the Coast Metro studios Eugene Mullen, recently scenario editor oi Vitagraph, is now in charge of the Universa Coast script department. .i (Eight) 'bit'll lo\^& this Song A S you drink in the exquisite ^ f t\ rnelody of "When You Look in ' the Heart of a Rose” — as the charming words etch themselves deep in your hearts — you “feel good all over” with a happy spirit that inevitably brings a smile, a warm heart and a good nature. "When You Look in the Heart of a J|||K L Rose” is an inimitable blend of wonderful melody and beautiful words. It is the song hit of that b’g show hit, “The Better ’Ole,” S . • famous all over America. ** fro™ your dealer for wjKJmR^ y***'*’ piano, talking machine or player- ^ . Z. . piano. WHEN YOU LOOK IN THE HEART OF A ROSE BY trtAfliAN_CILL£SPI£ PLOHCNCE rriE.THV£n REFRAIN ^ EIGHT OTHER WONDERFUL SONGS.- ' •;By fbe tampBre” ' ‘'Give Me All of You'*- , {•Sing M.eI.o've*s Lullaby” “Fetsfan Mcw’n"’ - ' ,|J-low Can You Tell" ‘''Love Here ^sMyHea^t*'- •Tl^e'fi:ad5a^ceia Your “Keep All Yoar’lLovefe Eyes” • , Me” 3cc a copy— 3 tor #1,00 From your music dealer or dircet. Band or orchestra,' 23e each '"Few C«n'CGo Wron^ with Any Pmai San^Y LEO FEIST, Inc., Feist Building, New York Dear lit tie rose^ with your heart ..of I i_ 1 , JR MG |\ 1 Pi ] I I Dear lit-tle rose, may your pe - tals --.fl 1 1 . fold. i> p — i [9 — 1 r — — h“F — 1 * se-cret sweet I will trust you to keep, LEARN Movie Acting A fascinating* profession that pays big. Would you like to know if you are adapted to this work? Send 10c for our Twelve-Hour Talent-Te^er or Key to Movie Acting Aptitude, and find whether or not you are suited to take up Movie Acting. A novel, instructive and valuable work. Send dime or stamps today. A large, interesting, illus- trated Booklet on Movie Acting included FREE! FILM INFORMATION BUREAU, Sta. N., Jackson, Mich. STATEMENT OP THE OWNERSHIP. MANAGEMENT. CIR- CULATION. ETC.. REQUIRED BY THE ACT OF CONGRESS OF AUGUST 24. 1912. of MOTION PICTURE CLASSIC, published MONl'HLy at 175 DUFPIELD ST., BROOKLYN, N. Y., for APRIL 1, 1919. State of NEW YORK, County of KINGS. Be- fore me, a NOTARY PUBLIC in and for the State and County aforesaid, personally appeared EUGENE V. BREWSTER, who. having been duly sworn according to law, deposes and says that he is the PRESIDENT AND EDITOR of the MOTION PICTURE CLASSIC, and that the following is, to the best of his knowledge and belief, a true statement of the ownership, management, (and if a daily paper, the circulation), etc., of the aforesaid publication for the date shown In the above caption, requir^ by the Act of August 24, 1912, embodied in section 443, Postal Laws and Regulations, printed on the reverse of this form, to wit: 1. That the names and addresses of the publisher, editor, managing editor, and business managers are: Publisher, THE M. P. PUB- LISHING CO., 175 Duffleld St., Brooklyn. N. Y. EdiTOr, EUGENE V. BREWSTER, 175 Duffleld St., Brooklyn, N. Y. Managing Editor, EUGENE V. BREWSTER, 175 Duffleld St., Brooklyn. N. Y. Business Manager. GUY L. HARRINGTON, 175 Duffleld St.. Brooklyn, N. Y. 2. That the owners are: (Give names and ad- dresses of individual owners, or, if a corporation, give its name and the names and addresses of stockholders owning or holding 1 per cent, or more of the total amount of stock.) EUGENE V. BREWSTER. 175 Duffleld St., Brooklyn, N. Y, ELEANOR V. V. BREWSTER, 175 Duffleld St., Brooklyn, N. Y. E. M. HEINE- MANN, 175 Duffleld St. Brooklyn, N. Y. ALBERT E. SmTH. E. 15th St. and Locust Ave., Brooklyn, N. Y, WM. ROCK, B. 15th St. and Locust Ave., Brooklyn, N. Y. EDWIN M. LA ROCHE. 2237 84th St., Brooklyn, N. Y. GASTON MELIES. 326 Lexington Ave., New York. 3. That the known bondholders, mortgagees, and other security holders owning or holding 1 per cent, or more of total amount of bonds, mortgages or other securi- ties are; (If there are none, so state.) NONE. 4. That the two paragraphs next above, giving the names of the owners, stock- holders, and security holders, if any, contain not only the list of stockholders and security holders, as they appear upon the bwks of the company, but also, in cases where the stockholder or secur- ity holder appears upon the books of the company as trustee or in any other fiduciary relation, the name of the person or corpora- tion for whom such trustee is acting, is given; also that the said two paragraphs contain statements embracing affiant’s full knowl- edge and belief as to the circumstances and conditions under whi<^ ^ockholders and security holders, who do not appear upon the bool^ of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner; and this affiant has no reason to believe that any other person, association, or corporation has any interest, direct or indirect, in the said stock, bonds, or other securities than as so stated to him. 5. That the average number of copies of each, issue of this publication sold or distributed thru the mails or otherwise, to paid suh^ribers nj^ng the six months preceding the date shown above is (This information is required from daily publications only.) — EUGENE V. BREWSTER, (Signature of editor, publisher, busi- manager, or owner.) Sworn to and subscribed before me this twenty-seventh day of March, 1919. — ^B. M HEIl^MANN. (My commission expires March SO, 1920.) (Nine) OPPORTUNITY MARKET ART THE LONG ISLAND SCHOOL OF AKT.— Individual instruction in painting and sketching from nature under competent instructors. Studios in Brooklyn, New York and Roslyn, Long Island. Open to a limited number of pupils for 1919 season. Address, L. I. School of Art, 173-175-177 DufBeld Street. Brooklyn, N, Y. BEAUTY PREPARATIONS HAIR ON FACE, BODY OR UNDER ARMS positively removed with root; no electricity nor poisonous drugs; absolutely harmless and painless; write for particu- lars, or call for free demonstration. Mme. Berthe, Specialist, Dept. L, 12 West 40th St., N. Y. FEMALE HELP WANTED WOMEN TO SEW. Goods sent prepaid to your door; plain sewing; steady work; no canvassing. Send stamped envelope for prices paid. Universal Co., Dept. 22, Philadelphia, Pa. WANTED^ — 5 bright, capable ladies for 1919, to travel, demonstrate and sell dealers. $25.00 to $50.00 per week. Railroad fare paid. Write at once. Goodrich Drug Co., Dept. 16, Omaha, Neb. LADIES — Fascinating home business tinting postcards, pictures, photos, etc., spare time for profit. $5 on 100; no canvassing; samples 10c. (stamps). Particulars free. Artint, 2H Station A, Brooklyn, N. Y. FILMS DEVELOPED Kodak films developed — Any size, 5c. each. Prints any size, 3c. each. Superior service. L Com- pany, 277 Ludlow Ave., Cincinnati, O. GAMES AND ENTERTAINMENTS ACTS, PLAYS, ENTERTAINMENTS, ETC., written to order. Terms for a stamp. Catalogs of plays, acts, sketches, wigs, etc., free. E. L. Gamble, Playwright, East Liverpool, O. HELP WANTED $18 to $36 weekly in your spare time doing special advertising work among the families of your city. No experience necessary. Write today for full particu- lars. American Products Co., 1321 American Bldg., Cincinnati, Ohio. MEN, WOMEN, 18 OR OVER, Get U. S. Government Permanent Peace Positions. $1000-$1600 year. No layoffs. Short hours. Paid vacations. Common edu- cation sufficient. Write immediately, for free list posi- tions now easily obtainable. Do not wait. Franklin Institute, Dept. D78, Rochester, N. Y. $10 "PEKT D AY“F0R““AMATEUR~ PHOTOGl^iraER^ Dime brings the plan which is being successfully operated. J. W. Bilodeau, Lyndonville, Vt., Dept. 79. MOVING PICTURE BUSINESS .$36.00 PROFIT NIGHTLY. Small capital starts you. Outfits sold on installments. No experience needed. Our machines are used and endorsed by Government institutions. Catalog free. Atlas Moving Picture Co., 426 Morton Bldg., Chicago. NEWS CORRESPONDENTS EARN $25 WEEKLY, spare time, writing for news- papers, magazines. Experience unnecessary; detaiis free. Press Syndicate, 561 St. Louis, Mo. OLD COINS WANTED “OLD MONEY WANTED.” $2 to J500 each paid for hundreds of coins dated before 1895. Keep aii old money. Send 10c for new illustrated coin value book, size 4x6. You may have coins worth large premiums. Get posted. Clarke Coin Co., Box 155, Le Roy, N. Y. PHOTOPLAYWRIGHTS SELL your rough ideas and synopses for photoplays — don’t merely submit them. Arthur Leeds, Editor of “The Photoplay Author,” wants to tell you how to find a buyer for your rough idea or story — how to write a story that the scenario editor will be glad to buy — how to give your story a “professional writer’s appear- ance”— how to gather and arrange simple ideas into salable form — what to write — what not to write — how to make your story “new.” Models for you to work from. An up-to-the-minute list of photoplay buyers and the kind of stories they want, saving you agents’ fees. (This is a supplementary volume furnished free.) An authoritative dollars-and-cents book for serious-minded authors anxious to “break in” and succeed. Costs a little bit more, but worth it. One of its tried-and- tested suggestions may pay for the book a hundred times. By mail, $2.50, postpaid. Satisfaction guaran- teed. Mastery Publishing Company, 305 Broadway, New York City. $38,000 FOR A PHOTOPLAY IDEA! Mary Pickford paid it. YOUR idea may be worth a fortune. Ex- perienced film man will facilitate the sale of rough ideas, synopses and scenarios for a few talented begin- ners. Write for details to G. A. Stradere, 309 Broad- way, New York City. (An Authors’ Representative; NOT a school.) HOW TO WRITE PHOTOPLAYS. Our book tells how; also where to sell. Contains model scenario, list of 50 buyers, and all information necessary; price 25c. Photoplay Book Co., 3-4838 Champlain Ave., Chicago. FREE TO WRITERS — A wonderful little book of money-making hints, suggestions, ideas; the ABC of successful story and movie play writing. Absolutely Free, Just address Authors’ Press, Dept. 14, Auburn, N.Y. STORIES AND PHOTOPLAY IDEAS WANTED by 48 companies; big pay. Details Free to beginners. Pro- ducers League, 441, St. Louis, Mo. HENRY ALBERT PHILLIPS* BOOKS FOR PHOTO- PLAYWRIGHTS: “The Photodrama” ($2.10); “Univer- sal Plot Catalog^’ ($1.25); “Plot of the Story” ($1.25); “Art of Story Narration” ($1.25). All four books, $5. Best “How To Do It” books written. Caldron Co., 173 Duffield St., Brooklyn, N. Y. WRITE FOR THE MOVIES: EARN BIG MONEY. “How to Write Moving Picture Plays” Teaches the Art in all its Branches. One Dollar post paid. Par- ticulars free. Wm. Fox, Jenifer Bldg., Washington, D. C. SHORT STORIES STORIES, POEMS, PLAYS, ETC., are wanted for publication. Good ideas bring big money. Submit MSS, or write Literary Bureau. 134, Hannibal, Mo. WANTED — Stories, articles, poems for new magazine. We pay on acceptance. Handwritten MSS. acceptable. Send MSS. to Woman’s National Magazine, Desk 696 Washington, D. C. SONG WRITERS WRITE THE WORDS FOR A SONG. We revise poems, compose music for them and guarantee to secure publication on royalty basis by New York music pub- lisher. Our Chief Composer is a song-writer of na- tional reputation and has written many big song-hits. Submit poems on any subject. Broadway Studios, IOTA Fitzgerald Bldg., New York. WRITE A SONG — Love, mother, home, childhood, patriotic or any subject. I compose music and guar- antee publication. Send words to-day. Thomas Merlin, 269 Reaper Block, Chicago. WRITE THE WORDS FOR A SONG. We write music and guarantee publisher’s acceptance. Submit poems on patriotism, love or any subject. Chester Music Co., 918 So. Michigan Ave., Room 193, Chicago. STORIES WANTED PATENTS INVENTORS — Send sketch and description of your in- vention for advice regarding patent protection. Twenty years’ experience. Our hand-book on patents is sent free on request. All communications strictly confidential. Write us today. Talbert & Talbert, Patent Lawyers, 4723 Talbert Bldg., Washington, D. C. SONG POEMS WANTED SONG POEMS REVISED AND MELODY ARRANGED. We revise your poems, arrange melody, copyright in your name, submit the same to leading publishers for consideration as to purchasing. Reliable and first class service. Write for our “Manual Guide” and terms. Maurer Harmony Studio. 1547 Broadway, N. Y. YOU WRITE WORDS FOR A SONG — We write the music, publish, and secure a copyright. Submit poems on any subject. The Metropolitan Studios, 920 S. Michigan Avenue, Room 104, Chicago, III. EARN $25 WEEKLY, spare time, writing for news- papers, magazines. Experience unnecessary; details free. Press Syndicate, 561 St. Louis, Mo. Advertisers The readers of Motion Picture Classic respond readily to Classified Advertising, Write today for rates and circulation statement. Address Classi- fied Advertising Manager, 175 Duffield Street, Brooklyn, New York. LATEST SONG HITS Get the latest song hits .just out and now being sung on Broadway, By ordering from us you get them weeks before they are sung or sold in your town and at lower prices. Send for our Bulletin No, 7. Mercury Music Co„ 145 W, 45th St,, N. Y, Own Your Own Stocks in a Year BEGIN TO-DAY Invest wisely. Obtain Growing Income, Buy H g only high-grade stocks paying substantial divi- S g dends. First payment 20 % of purchase price, ^ = Balance in equal monthly payments during year, ^ ^ Write to-day for Booklet "M.C.'' ^ s Francis & Co. Investment Securities Cor. Broadway and Wall St., New York City icr Pale . sallow skins -- ^he new steam treatment For them FIRST the steam ! THEN the lather! You ■will find the steam treatment in detail in the booklet wrapped around e-very cake of Woodbury's Facial Soap, A SOFT, lovely skin, radiant with color ! This attraction you, too, can have. In a much shorter time than you would imagine, your skin will respond to the proper care and treatment by taking on a greater loveliness. To make your skin soft and colorful One night a week fill your bowl full of hot water — almost boiling hot. Bend over the top of the bowl and cover your head and the bowl with a heavy bath towel, so that no steam can escape. Now lather a hot cloth with Woodbury’s Facial Soap. With this, wash your face thoroughly, rubbing the lather well into the skin in an upward and outward motion. Then rinse the skin well, first with warm water, then with cold, and finish by rub- bing it for thirty seconds with a piece of ice. Use this steam treatment weekly until your skin no longer requires it. The other six nights of the week, cleanse your skin thoroughly in the usual way with Woodbury’s Facial Soap and warm water. After the very first treatment, your skin will begin to show more color. Get a cake of Woodbury’s and begin tonight the treatment your skin needs. You will find Wood- bury’s Facial Soap on sale at any drug store or toilet goods counter in the United States or Canada. A 25 cent cake will last a month or six weeks. Sample cake of soap — Booklet of famous treatments — Samples of Woodbury’s Facial Powder, Facial Cream and Cold Cream — sent to you for 15c. For 6 cents we will send you a trial size cake of Woodbury’s Facial Soap large enough to last for a week of any Wood- bury treatment, together with the booklet, “A Skin You Love to Touch,” giving the famous Woodbury skin treatments. Or for 15 cents we will send, in addition, samples of Woodbury’s Facial Powder, Facial Cream and Cold Cream. Address The Andrew Jergens Co., 906 Spring Grove Ave., Cincinnati, Ohio. If you live in Canada, address The Andrew Jergens Co., Limited, 906 Sher~ brooke Street, Perth, Ont. I i j I ( Ten) BERT LYTELL Lytell is a Her- bert Brenon dis- covery and he made his first hit as the dashing, reckless hero of Mr. Brenon’s “The Lone Wolf.” Now he’s a Metro star. Bert had a long stage career be- fore he went in- to the films, his 1 a s t appearance being in “Mary’s Ankle.” Motion Picture IRENE CASTLE -ira L. HiU Irene Castle has returned to the screen with Paramount after doing her bit in the world war. Mrs. Castle has resolved never to dance again, since she could never find a partner equal to her Vernon. But film fans are satisfied that the vivid young woman who established her skill in a number of Pathe productions is back on the silversheet again. CLARA KIMBALL YOUNG Witzei Miss Younp has been a screfen lumiitary since she first flashed into meteoric success under J. Stuart Blackton’s developing hand at old Vitagraph. Miss Young has been on the stage since she was a kiddie, her parents being well-known players. Miss Young is now a foremost Select star. LOUISE HUFF Miss Huff was born in Columbus, Ga., but her folks soon moved to New York. With her sister, Justina, she longed for a stage career. "Ben Hur” was one of her first engagements and, after considerable experience in stock, she joined the Lubin forces. Later she was a Paramounter and now she is a World star. f- WANDA HAWLEY Wanda is now a figure to be reckoned with on the screen. Her hits in “Old Wives for New” and “We Cant Have Everything,” proved that fact. Once she was known in the films as Wanda Petit. But folks began to make puns about the name and Wanda changed her cognomen. What the Photoplay Might Do By CHARLES JAMESON PROBABLY no One is better to talk of imagination on stage or screen than S Walker. I"or a long time a lie ant of that master of stagec David Belasco, Mr. Walker has attracted w'orld-wide attention his Portmanteau Theater. Mr. Walker’s Portmanteau 1 ter has been an institution of si larly lofty ideals. To it Ameri largely indebted for its knowledj Lord Dunsany, whose colorful dramas of gods and men con beauty, satire, imagery and tre: dous dramatic suspense. All of Walker’s productions have | marked by the real spirit of the stage art, which is at once sir imaginative and spirited. / from all this, he has develop^, repertoire company of striking cellence. ‘‘Perhaps it is jmesumptuous o to even discuss the photoplay,” Mr. Walker, ‘‘because I knovi little of the way in which it is 1 It is very easy to point to somet and say it is wrong. But men | h a v e s i’ years ; mill ions' business i have a \ i‘ good rea for doing very thin exactly way. ‘‘It is not I have s few p h (I Inlays. I : once re! (juite dete: Upt>i’r left, Stuart, Walker a ii cl a model of his Port- manteau Theater, .showing how stage .settings are cle- .signed. The final .set is built from the miniature Left, A scene from Mr. V\'alker’.s yrro- duction of “T h e B o o k of Job,” with George Gaul as Job of the Bib- lical land of I'z (Sixteen^ 11. That was before I went into one (■our de luxe movie liouses and heard liymphony orchestra play Massenet, ;r which came a singularly beautiful lie film with quotations from Rupert ,‘oke and finally a drama wdth no little igination. But most of all I have found that !en jiroducers are afraid to do any- ;'.g new. They have developed a set es of things to portray a set series of •tions and they put every story thru identical mill. For instance, there is I chase, with its many variations, as a 'ns of attaining suspen.se. fit isn't that screen producers lack gination. They frequently reveal i.iant flashes of it. Buf they are \id to carry their imagination to its cal conclusion. They wander back the groove of set situations, be- ing somehow that audiences demand and can understand nothing else. 1 recall one vivid instance of this, icture called ‘The Cruise of the Make- leve.’ That little make-shift ship of irds, boxes 1 barrels in < sordid tene- £t backyard ^ a blinding 1)1 of imagi- ( )n, but the i: e c 1 0 r ^ o r 3 it the sce- ip writer ? — Md himself ^y from it t; fearsome I lity. I heard IC'le around ", sa y they 1 1 1 d like to '"'Ht in lied on ’jage 77) fV Seventeen) n L-. Top, Another view of Mr. W a 1 k c r ’,s -stage setting for “The Book of Job,” with Margaret Mower and Eliza- beth Patterson a t the right and left as Narrators and Mr. Gaul (center) as Job talking with the three men from Uz. Right, Mr. Walker’s presentation of Lord IJ u n s a n y ' s “The Laughter of the Gods,” with McKay Morris as the king a n d Margaret Mower as the queen LOUIS XV never had more uninter- ested thoughts of the future than we. What of the stars waiting to be interviewed in 1920 or 1921 ? Have we not just chatted with Elsie Ferguson — for a whole evening — by the gorgeous fireplace of her gorgeous Park Avenue home? Can we ever hope for a greater esthetic thrill ? Interviews may come and interviews n^ay go, but never will we forget our picture of Miss Ferguson gazing into the crackling flames. The patrician poise, the laughter in her quizzical blue eyes, the saucy tilt of her nose as the flames played upon her beauty, the black velvet evening gown with the one touch of color, a crimson rose. There were dozens and dozens of roses gracing the grand piano. And, tossed over a chaise-longue, was a rich tapestry purchased that morning — a tap- estry of fabulous cost woven with infi- nite care some four hundred years ago in a dark and gloomy monastery by painstaking monks who little wotted of the movie future. Miss Ferguson, anent the tape.stry, whimsically admitted her possible ex- travagance, at least her love of the luxu- ries of life. “What would life be without The Patrician of Photoplay them.'' she asked, with a delicate little s But Miss Ferguson is not a poseure. Unless sibly in her graciou.sness to a mere intervi< At least there is no pose in her directness, expresses her likes and dislikes without tryi gild them, d'here is no aifectation in her ner. She has not forgotten her own struj The delicacy and the fragility of Miss F son’s beauty do not quite prepare one fo cerebric vigor. Miss Ferguson can — and d< think. And thes The delicacy and fragil- ity of Miss Ferguson’s beauty do not quite pre- pare one for her cerebric vigor. Miss Ferguson can — and does — think. And these are not the thoughts of a butterfly, but the mental reactions of a sin- cere student of humanity not the thoughts butterfly, but the tal reactions of a cere student of manity. "The stage dearest my heart that of the little s gler against fat Ira L; Hill By REDBRICK JAMES SMITH cast/ ” she , “because it ed a message lose young en who are ing their fight y where — in ity’s hall bed- ns and the ‘ts. That is of all my roles, I most for the in ‘The Rise enny Cush- There was ler struggler fought her to happiness, e most about fessing some of message rd the bet- lent of so- It ss Ferguson not talk of nission with She merely ts to help s just a lit- She has too i of a sense imor to con- ker art too usly. ir instance, in ssing a cer- ieading man, remarked : 5 unyielding en he ern- es you he I’t give an And it’s lly hard to nbraced like n Sher screen ■iences Miss tuson talks in- *iingly. “At sd was fright- 11 confused/’ tonfesses. “I |i never forget tate of mind ‘g the mak- jf ‘Barbary i).’ Then I a to care sly for the i Next came II er disturbed til of confu- 3 with the ent changes ■ectors which Miss Ferguson cred- its her whole devel- opment to the stage rather than the screen. “One does not develop in the studio,” she says. “The necessary method of doing disjointed scenes here and there from the photoplay prevents a genu- ine living of the character. On the stage you play a character straight thru for many nights. It grows, expands, mellows — and you develop with it” ' seem a part of photoplay mak- ing, Then, too, I took it upon my- self to say a good deal about the se- lection of my ve- hicles, and I made a number of bad choices. ‘Heart of the Wild,’ for in- stance. “I had wanted to do that because I had played ‘Pierre of the Plains’ on the stage. But when I came to do ‘Heart of the Wild,’ based on that play, I found that I had changed. I was young, undevel- oped, fired with extreme youth when I played Jen behind the foot- lights, but when I came to do her on the screen I found that I had devel- oped. T could no longer feel her in- genuous view of life.’; Miss Ferguson credits her whole mental develop- ment to the stage rather than the screen. “One does not develop in the studio,” she says. “The nec- essary method of doing disjointed scenes here and there from the photoplay pre- vents a genuine {Continued on page 87) © Ira L. Hill De Cordoba’s parentage was fascinating. His mother was a true Parisi- enne, dainty, dark, viva- cious. His father was a Spaniard, born in Cama- guey in Cuba. Pedro was born in New York, in the shadow of the Met- ropolitan Opera House. Above is a portrait of de Cordoba and, at the left, is a glimpse of Pedro with Director Chet Withey and Norma Talmadge doing “The New Moon” at Lake Saranac, N. Y. Photo C. Smith Gardi was fascinating. His mother wa Parisienne, dainty, dark, vivacioi father was a Spaniard, born in guey in Cuba. Spain ... am The deep, dark, splendid glow old wine, mellow old wine, stoi wine and the swift exquisitude champagne of Paris, evanesce jeweled . . . and de Cordoba^ with both blent within his vet made it seem so stupid and phl< to be born just plain, everyday can — so obvious, so sort of r nous. Of course, de Cordoba wa You know what to expect in a motion picture studio, dont you ? The light? and the props and the dust and the sound of hammerings, shouts, commands, the grinding of the camera, the shiftings, the inevitably waiting groups of actors, weird or natural, the desultory, staring on- lookers, the occasional blase child. The reek of the grease-paint, the scrambling carpenters, the glimpses of ornate reception- rooms, palm gardens and conservatories. These are the things of a studio. I went to the Talmadge studio to inter- view Norma Talmadge’s new leading man, Pedro de Cordoba. Perhaps you have seen him with Farrar on the screen and with Elsie Ferguson. Perhaps you saw him with Marjorie Rambeau in “Where Poppies Bloom.” / saw him in Russian habiliments but with the manifest spirit of old Spain, only I wasn’t certain it was Spain until he told me so. There is a reason for everything in this world which is essentially reasonable in its fundamentals. There is a very good and sufficient reason for the Castilian atmos- phere of de Cordoba, which reminds me that I wish you might hear him pronounce his own name. It is soft, slurring, infinitely musical and magical. You see, Don Pedro’s — I simply cannot dull the magic of his birthright by affixing a horrible mister to him, not after hearing that name in the Spanish tongue — Don Pedro’s parentage Don Pedro de Cordoba By FAITH SERVICE than the Parisian. He is too serious for Paris, too slow in his movements, too inscrutable in his .smile and his eyes which are sad. Paris speaks occasionally in his smile, his smile which is humorous, even light. More, he has that subtle, inscrutable charm of older civiliza- tions than ours, older legends, older mytholo- gies. He has that instinctive wisdom which has come from beauty touched with decadence. He has that atmospheric richness born of the Old World, specifically of old Spain. There is an inescapable atmosphere . . . the bravado of toreadors waving a bunting of scarlet . . . murmurings and secrecies under lichened cathedral walls . . . the old cathe- dral Ibanez has written of . . . shy donas draped in mantillas of black lace caught at the breast with a crimson, scattering rose . . . courtyards where vivid hibiscus flowers come to a flagrant maturity only to die away, and green and orange lizards sun under fountains {Continued on page 77) De Cordoba is a good deal more the Spaniard than the Parisian. He is too serious for Paris, too slow in his movements, too inscrutable in his smile and his eyes, which are sad. There is an inescapable atmosphere of the bravado of toreadors. Right, a scene from “The New Moon” with Miss Talmadge and Don Pedro 0 C. Smith Gardner, N. Y. !too. In the shadow of ipera House, where his 1 lullabies were arias from ; and Marguerite or over- from Tristan and Isolde. 2, too, his small desire to operatic star grew and apace with his great 'g love of music. “Con- -uusic now,” he added, ;ical music, it is, I might 'ly passion.” \ Cordoba looks his lage. Probably a great 'more the Spaniard wenty-one ) 1 The Screen as a Repertoire Theah By KENNETH MACGOWAN (Twenty-tv. YOU hear very little today of the old battle of the stage versus the screen. Mrs. Fiske asserts that Charles Spen- cer Chaplin is a great artist, and Walter Prichard Eaton admits that Griffith knows his business. Also scenario writers, moving picture press-agents and too enthusiastic young critics have got over announcing the demise of the legitimate. The stage will recover. And so will th€ screen. But there is still a versus worth versusing — the organization of the stage versus the organization of the screen. It is worth thinking about, because the business organization of any art or any industry has its effect on the quality and price of the product. Thinking wont change these things. Economic forces will attend to that. But it never hurts to have an intelli- gent audience on the side-lines of evolution. There are two kinds of theater organizations — America’s and Europe’s. America’s is bad. Most of Europe’s is — or was — good, some of it perfect. America puts on plays in New York or Chicago for long runs. The cost of putting them on is multiplied by the fact that everything from actors and scenery to company managers and stage hands is hired or made for just that one production and discharged or scrapped if it is a failure. That means high prices for all these things — a sort of accident insurance. If the play is either gre?it enough or commonplace enough to appeal to about 200,000 New Yorkers, it lives and goes out on the road and makes money, lots of it. And all the other producers try to produce one like it. No- body is making any money out of the play that only 50,000 of us want to see. Over in Europe, before the war, they had a kind of theater that served both publics, the wholesale and retail. It was the repertory theater — our old stock com- p a n y with modern im- provements. Actors and scenery and managers and stage hands all worked to- gether, the whole season The movies often fall behind stai land’s methods. Screen-blight, for stance, is written all over the movi( star system. The stage keeps the m« personality in its place much better th it used to. The movies stick to the star. Th stick to it, tho Griffith and Tucker a: De Mille have shown that the phol play’s the thing. For the star is abc the only sign-post that the public fc yet learnt to recognize as a guide to t probable merits of any of the hundrc of fly-by-night films. It is unfortimate that the stock co: pany — the basis of the cheapness a expertness of the repertoire theate' acting — should have partially dUi peared from the studios. thru, in a single theater. They put on a dozen new pla that one theater, and kept a dozen old ones alive, at just half what we pay for a single “success” and three or failures. Audiences got to know their theaters and man and actors and were able to depend on them to always them a certain quality of entertainment. There theater: artists were as dependable as the old Triangle or Griffi Chaplin. Three or four nights in the week some big new cess was running. Another night was given up to some ard drama for the minority — Ibsen or Shaw. On a coup other nights Shakespeare or a play of three or four se; ago was to be seen. Each got its own audience and the others. There are advantages in all this — financia artistic — that we cant touch over here. Even our cialized “type” actor isn’t to be compared wit rounded player of the Continent who has had a different parts to play each year. What about the screen ? Well, at various tim( screen has come pretty close to a lot of the good of the repertoire theater. Different as it is in ciple — making a single film production and then ing copies all over the land — and badly worke as many phases of its business organizatioi are, the screen has, or may have, curious of resemblance to the best type of theater agement. The movies fall behind often enough — eve hind our Broadway methods. Screen-blig instance, is written all over the movies system. The stage keeps the mere perso in its place much better than it used to. rounded productions are apt to be th stage successes today, replacing the star of a few years back. The movies sti the star. They stick to it even tho GriffitI Tucker am You hear very little today of the old battle of t^e stage the screen. Mrs. Fiske asserts that Charles Spencer Chaplin is a . artist — and peace is in the air Mille have that the pi play’s the For the st about the sign-post tha {Continued page 71’ r The day before I i 11 t e r- i e w e d Martha Mansfield I went to Alfred Che- ney John- ston for some p h o- tographs. “Martha?” — he began, his face lighting up — “Martha ? You’ll just love Martha. She is so frail. She is an exquisite pastel. You cant connect Martha with the theater at all. She is sweet, and fine, and dainty — a fragile flower.” I believed all this until the next morning. When the Mansfield door opened. And she stood in front of me. Not smiling. But laughing. And wearing a sports cos- tume. Of the gayest color. And revealing from under a ' hat. Hair. More dazzling than any bonnet. And greeting: “I’m so glad you came just when you did. Because if you had not arrived at this minute, I should have gone for my walk.” We went inside. The living- room was cheerful and cozy. Miss Mansfield did nob s i n k into the divan, but crossed her legs on the piano bench. Photos by Alfred Cheney Johnston field alternates b et AV e e n the Ziegfeld Frolics and the motion picture studios. She is best known o n the screen for her work as leading woman . for Max Linder several years ago A Mansfield of the Follies By C. BLYTHE SHERWOOD I didn’t really mean to spy. But the odor of flowers attracted my attention to look in their direction, and behind them 1 saw some interesting books, and in back of the volumes, in state, stood the photograph of Hazel Dawn, and high above the Dawn hung a Leyendecker poster, and; in a direct angle, pointing to the other corner of the room, peeped a hockey stick. “Skate ?” query au naturel. “No,” illuminatory smile. “Not now. I like swimming and I (Continued on page 76) tTwentv-ihree) A-.: Above, Mr. Standing in “Rose of the World” with Elsie Ferguson; upper left, an off-screen glimpse during the filming of “Eyes of the World”; center, a snapshot during the making of “The Wit- ness for the Defense" ; and, below, talking with' Warner Richmond at the Fort Lee, N. J., ferry Defense,” Mr. Standing’s wife duti- fully repeated my plea that he give The Classic some recognition, and the studio manager said he could have the day off. The press-agent told him the office wanted him, the office publicity manager begged him to spend his holiday within the portals of their marble Manhattan office building ready to tell a ’phone-worn re-y porter the story of his life, then, and not until then . . . I found myself confronting a sleekly groomed but somewhat embarrassed giant. He looked for all the world like a hale and hearty Englishman. His voice in greeting was resonant and firm, his hand large, vivid-gripping and welcoming. There was an amused twinkle in his pale blue eyes. At once the thought came to me of an English squire standing beforej) an open door thru which came the fragrant warmth of blazing logs. (Twenty -four) Standing Room Only By BARBARA BEACH WYNDHAM Standing has no excuse for not being a good actor; in fact, he only followed the course of least resistance when he became one. Nevertheless, it required the combined efforts of two press-agents, one wife, a studio manager and a star for me to obtain an appointment that I might discover the reason for his dramatic existence. When his star, Elsie Ferguson, providentially took it into her pretty 1 > ,* r /“‘I* t ^ T* . (• .1 MOTION PICTURE CLASSIC 4 )f a beckoning dining-room, whose table groaned with steam- ng roast beef and Yorkshire pudding. I The impression remained vividly, even as I mentally praised |he Famous Players-Lasky Company for having furnished ,heir offices with a huge, softly cushioned davenport. For Yyndham Standing is the comfortable sort of a person who )elongs in big chairs. Altho he wears spats, a yellow overcoat ind carries a cane, I have a suspicion that he cherishes a fond- less for a pipe. “You came originally from?” I )egan dutifully. “England,” he said, thereby con- irming my belief that at one time or mother all actors hail from the British Isles. I learnt that Papa Herbert standing was one of the best mown actors on the English tage, equally well-known vas Uncle Sir Charles Yyndham and the six ittle brother Stand- ngs who, one af- er the other, sought ;ie stage. Neverthe- ss, Wyndham, who hade the seventh ittle Standing, tried 0 breast the tide of kings as they are ,nd studied law. It wasn’t any use. apa Standing and rother Guy and i^ercy and Jack and Ihe rest were all mak- ||ng good on the his- trionic boards. As tropic traveler is red back to South- rn lands, as the all of the sawdust ing is irresistible to e circus clown, so e call of the stage is 3 those that have it in leir blood. The instinct as strong as life itself. So with young Wynd- am. His first stage ex- rience was obtained in ,e English provinces, as all ood English actors obtain their raining. His first big success was a “The Chimes of Normandie.” Then came America and pic- ures. There also Papa Stand- ag had gone before him and laved the way. It was, again, nly according to the natural iw of events that Wyndham hould follow. “My wife and I both be- ame Americans — by doption,” confided Vyndham proudly. A country that is ood enough to live a should, have your allegiance — dont you think ?” “I do — at intervals,” I confessed. He laughed, a jolly, deep-dimpled laugh. I was reminded of the comment of the woman who sat be- :iind me during a showing of “Paid in Full,” in which Mr. standing played the part of Jimsy opposite Pauline Frederick. “He has such a good face,” she enthused. (Twenty-five) I repeated the remark to Mr. Standing. His face reddened boyishly up to the very roots of his finely brushed, light hair. “That was good of her,” he said, “but Jimsy was a lovable character. In other roles I have played, people have shuddered — I was so brutal as the villain. Once I even heard a woman say, ‘Isn’t he a wretch? I’d hate to meet him on the street!’ “I never want to be considered a type. When one becomes a ceases to advance. In spite of the progress the photoplay has made since its first inception, I believe that it is still only in an embryonic stage. One of the reasons for this is that directors depend too much on types. They should depend more on brains, on the ability of a per- son to feel his part, to project his thoughts across the silver- sheet, instead of being sim- ply the photographic coun- terpart of a character. “I believe that a time is coming when a good many of these types are going to be weeded out. There will remain in- dividuals who can so live their characteri- zations that they are felt across the screen. Norma Talmadge is an example of what I mean. The player is going to be able to express every little mood, every varied thought, because his in- tellect is capable of feel- ing the part. There will be no need of the subtitle. I tell you it is not the wild gestures, the hair-tearing acting, the tricks of the trade, nay the Olga Nether- soling that is going to lift the art of the screen out of its embryonic age. It is the thinking, here” — he lightly tapped his forehead — “and the feeling here,” he placed his hand over his heart. “At the pres- ent time there is also an overuse of the close-up. The more close- ups, the less possibilities of a dramatic, smooth-flowing story.” Personally, I am very inter- ested in the art of the photo- play, but I found Mr. Standing so vitally absorbed by it that I had great diffi- culty in switching the conversation back to personalities. Like a writer discussing his latest story ; a painter, his most recent portrait; a mother, her only child, was Wyndham Standing with his theories on photoplay acting. It is his- hobby, and if he were not such a jolly soul and could he have an aversion for anything, it would be for the type aqtor. And could one imagine Wyndham Standing and (Continued on page 79) Wyndham Standing looks for all the world like a hale and hearty English- man. His voice in greet- ing is resonant and firm, his hand large, vivid- gripping and welcoming. You catch the impression of an English squire standing before an open door thru which comes the glimpse of a beckon- ing dining-room with tables groaning with steaming roast beef and Yorkshire pudding Photo Apeda i^asi vcioDcr jc-uiin oiuicy left a Metro starring con- tract. Film fans wondered what became of her. She disappeared completely. Months later it developed that Miss Storey was quietly doing her bit — driving a war ambulance A GOOD many actresses have been photo- graphed at the bedside of wounded sol- diers. A whole lot offered iriuch valuable advice on how to win the war. Half a dozen or so talked about volunteering as nurses and ambulance drivers. But Edith Storey actually did her bit. For months Miss Storey has been driving a war ambulance in the streets of New York — a work no less valuable than handling one behind the Flanders lines. And when the influenza epi4emic hit the metropolis she deserted the steering-wheel with scores of other drivers to take the “night nurse shift” in the crowded New York hospitals. All of which gives you some idea of what a very real person is Edith Storey. The downright sincerity of Miss Storey has always shone from her work on the screen, lifting it into the unusual. She is just as honest and direct a young woman in real life. We know of no other star quite like her. Last October she left a Metro starring con- tract. Film fans wondered what became of Miss Storey. She disappeared completely. Months A Star Who Really -Did Her Bit By HARRISON HASKINS Plinlo AiH'd.l later it developed that Miss Storey was quietly doing her bit. No dazzling announcements blazoned in the newspapers, no pictures of the star in uniform, not a single word appeared. Indeed, Miss Storey doesn’t want publicity for her war work. Why ? Because “it’s been such bully fun,” as she explains it. “It thrills me and pleases me — and that’s enough.” Miss Storey has been steadily driving an ambulance for the National League for Women’s Service. This doesn’t mean chauf- feuring a motor-car thru the metropolitan streets in a natty uniform. Far from it. Miss Storey, like the others, reports at nine o’clock in the morning and devotes the day to meeting incoming transports and liners at the docks and transporting the sick and wounded to hospitals thru the maddening congestion of Manhattan street traffic, to transport- ing men from place to place and to special emergency work. When the great Perth Amboy explosion occurred. Miss Storey drove her car for thirty-six con- secutive hours, thru the night, the blinding smoke and the bursting shrapnel, in bring- ing the injured to safety. And that was but one of the things. The “flu” epi demic brought {C ontinued on page SO) t Twenty stx) . 1 kAMN'D redhead !” “Red — but not damned.” “I said ...” The girl stepped over to the disheveled youth, w^ho stood swayihg and glaring at her in his bath-robe, and laid a forcible hand on his arm. From under the villified red hair her eyes blazed blue and keen. “You cut this,” she commanded; “we’ve done it, and it’s as much of a mess for me as it is for you— more, likely. What do you think I’m getting out of it ? What do you think I’m likely to get out of you? I may have been a cabaret singer and not high enough in the “Sore” Hundred, but I could earn my own bread and butter. I was a somebody. I wasn’t a good-for-nothing para- site, living on the money of a de- crepit old man and sneaking the kisses of a bunch of rowdy women. That’s all you’ve been. Now you’ve overstepped your- self, my son! You’ve got a bit drunker than usual — even for you — and a bit spoonier than customary even with You’ve mar- ried me . . .” “Bunk!” interjected the tousled young man, with rather flat scorn. “No bunk about it,’ snapped the Redhead, with fury. “Roly Card is a notary and as certi- fied as any notary ever was or is ever likely to be. There were witnesses a-plenty. You signed the cer- tif’cate — so did I. It’s iron-bound all right, all right, Mr. Wise Alec.” Mr. Wise Alec looked the part of anything save wis- dom. He essayed more scorn. “ After some of the ‘decrepit old man’s’ cush yourself, eh, sister?” The Redhead stood her ground. “Never you mind what I’m after,” she told him ; “you hustle and get after a job. That’s yoitr cue. We’re married. Drunk or sober, the fact remains. When a girl — or a fellow — gets mar- ried, things change ...” An unaccountably wistful light tempered the belligerent blue of the Redhead’s eyes, but the tousled youth ignored it. “Things change,” went on the Redhead; “things get straighter. Cleaner, sort of. They’ve got to— with us. We’re a family now. . I’m going to run straight. Matt, straight- 'r than a string.” '^he Gilded Yo.uth meered. “ You fell ’em well,” die scoffed. “Wi?ll, as for i^e, and thafiks to you* I guess J’ll run on the Bread Line. When uncle hears of this i t w i 1 1 be gopd-by, little Maftie. A cab- aret girl as a Mrs, Matthew Thurloe will be the knock-out blow to I’il Nunkie. His hearty none too good as it" is. Fare- well, dafnn’d Red- head; hope the Nar- row spath sits well, young ’un.” Ten minutes later the dingy door of the dingy, unsav- ory room shut to with a bang. Daizie Mellows, christened Maud by her sponsors in baptism, wait- ed until there was no chance of the door re- opening, then she Hung her- self oil the bed and sobbed and (Twenty-seven) MOTION PICTU A month later Matthew Thnr- loe drifted into the cabaret aj^ain where Daizie jazzed in a string of beads or so and a very heavenly smile and a cloud of intriguing red hair dug her knuckles into her eyes and tore at her red head, at her young breast, at her flimsy clothing. I wanter die !” she shrieked in flerce undertones ; *‘oh. Gawd, oh. Gawd, please let me die !” Then, suddenly, she reared up- ward and sat erect. She shook her fist at the dun wall. “But I’m gonna live,” she rasped- fiercely; “Tm gonna live . . . an’ live an’ live . , A month la t e r Matthew Thurloe drifted into the caba- ret again where Daizie jazzed in a string of beads or so and a very heavenly smile and a cloud of intriguing red hair. He drifted in quite alcoholically. He was entirely too alcoholic to note the sud- den light in Daizie’s soft blue eyes. He was rather too be- fogged to note that she plied him with more alcohol assidu- ously and consistently. He thought, vaguely, that it was kind of her. He got over his post-matrimonial belligerence. He harked back to the luminous days and lurid nights when he and Daizie had just been “pals.” What a magnificent pal she had been! What a four-scjuarer ! Never any fourflushing about Daizie. Never any renigging. She had always been “there.” And what a looker she was . . . dear, damned Red- head ! With her scarlet mop and her laughing mouth and her kisses one could not forget . . Matthew Thurloe called her to him and kist her, and, kiss- ing her, was lost. Oblivion rose up in soft floods of ecsta.sy and submerged him. Wave after wave of delight seeped hi’s soul in liquid bliss. Then he slept. ■ When he awoke he was not at all certain that he was awake. He had sort of got out of the habit of awaking in a room delightfully darkened, with a pitcher of tinkling ice at his right and a squatty little jug of roses at his left. There was a peace about the little room he lay in — a peace he could not define. .Somehow or other, irrelevantly, no doubt, he was reminded of his mother, long ago dead. She had passed out of his life, leaving only the shade of a thought, cool, calm, tender and very hushed and holy. It was almost like that in here. Almost the way his mother would have had it had she been living to shelter him from sin. His last memory was of the Redhead ... of kissing the Redhead, deliriously . . . damned Redhead . . . how he hated her! How violently he hated her! How desperately! Little damned Redhead . 1 with her kisses one cou not forget . . . and h< eyes one could not evad If he had not hated her ; he might have loved her . . . 1 floated off on the somehow delightful po sibility of loving the Redhead . . . then tl Redhead stood in the door. “Are you sober, Matthew?" she a.sked, SU' cinctly. Matthew was unprintably profane. The Re( head .stood it without flinching. “Wliere th’ am I?” finished Matthew. “.At home,” said, equably, the girl. “Th’ I am! iVJiosc home?” “Yours,” said Daizie. She added, “And mine.” Matthew Tluirloe fi.xed her with his eye. He .sneered. E looked peculiarly unplea.sant when he sneered. No one sa\' a woman who loved him could have resisted letting fly at hin Dazie stood supine. There was something pathetic in her att tude — a sort of a waiting . . . Matthew sat up, with dignity. “Case of abduction, I see,” he observed. | “Call it by any name that suits you,” said the girl. _‘Tf you want a man this bad,” resumed Matthew scathingl; “far be it from me to break your heart. I’ll go hunt up a job’ “You’d belter,” said the Redhead ; “I’ve given mine up.” “You’ve ” “Certainly. You’re my husband. - You’ve got to suppoii me.” •AVell, I’m ” “Go hunt your job,” said the Redhead, with steel in he voice. Matthew went. When he had gone Daizie, christened Maud, did the wor of the three rooms she had rented and furnished out of th earnings of many dances and many, many tips, then sat dow by the window to sew. After a while the sewing dropped to her lap, her eye looked out of the window, past the dingy roofs, past and be yond the sky-line to a country where long-dreamed dream come true . . . to a land where she and Matthew walked tc gether, hand-in-hand, heart-to-heart, where lust and drink an ribaldry were not and love was all .- . . Two tears welled u (Twenty-Pifjhi) iLASSIC ild dimmed the bright, amazing blueness of her eyes . . . ley fell and the idle needle pricked them into nothingness . . . j/er the tiny tragedy her brave mouth smiled . . . ' Matthew was an expert mechanician. There had been )urses at college . . . degrees and brilliant promise . . . then iibarets and drinks and gilds with voices to beguile had come jtween young Thurloe and his sane, straight chosen line. He id struggled for awhile — then the struggle had seemed to be Dt worth while. Life had staled in his mouth. Pleasure had limed a carmined cheek to him and, under the rouge, lo ! her leek was jaded! There had been more, cabareting, more Idnking, more and more girls. Now and then there had been |:casional pull-ups. A nice girl ... a hope again. Then the jce girl had turned out to be not so very nice after all, and [att had dived deeper than before into the substratum of [lings to drown, assuage, crush out his shallow pain. Then i'aizie . . . Daizie with her devil’s hair and her laughing, rovocative mouth and her astonishing straight, clean eyes. I Daizie ... I Matthew turned to mechanics again. With Daizie to feed liin, to wake him in time, to greet him at night, he somehow id not find it such hard sledding. After a while he even liked e work. He got a raise. Then he got another raise. One ght he took Daizie out and bought her a black satin frock d a funny little black hat with a blue rose. He laughed be- ire he knew it, because her blue eyes were so brightly blue ineath it. Then he relap.sed into sullenness again. Before [ey had reached home he had called her “damned Redhead” ;»ur times. “Some marriage, this is I” he sputtered, as he bade her good- night, with surly ill-grace, at the door of the tiny room she inhabited. ■‘Better than the old stuff,” said Daizie; “cleaner . . . sweeter ...” “My eye !” grunted Matthew, and slammed her door for her graciously. He sat on the edge of his divan and scowled into space. He hated the way her red hair floated before his mind’s eye, a living nimbus. He hated the persistence of her eyes. In her room Daizie sat on the edge of her bed, too, but she was smiling. A fortnight later Daizie announced one evening that her mother ana father were coming to town. Matthew had never seen just that look in her eyes. “You’ve just got to play up for me. Matt,” she told him. “You see, mummy and dad are nothing but babies . . . dear, big, ridiculous babies. They’ve never heard of a cabaret. If they ever got into one they’d think they were in hell. They’d turn up their toes and die if they ever thought their little Maud had ever done the hula in the place she did. They’re fresh from the farm — the real, honest-to-God variety. 0h, they’re real enough. They’re the realest things on earth. Matthew — I know you dont care about me — but dont give them beasts for thoughts. Dont hurt them . . . dont. Well, they think I worked in a department store until I was married. They think I’m just the same — as I was back home. They bank on me. Matthew ...” Matthew growled from behind his uncompromising paper. But he had not been reading the paper. Daizie’s progenitors were undubitably the real thing. Wisps of the home hay all but protruded from their amazed ears. They stared vastly, oh’d and ah’d and were “tickled to death” with everything and everybody, including especially and de- monstratively their “gal” and their new “son-in-law.” Father Mellows informed his daughter in the not ill-pleased hearing of Matthew that she had “cotched a hummer,” and Ma Mel- lows reinforced the eulogy with an emphatic “Lands, yes!” Matthew felt a thawing in the frigid zones of his heart. Here was something essential. Here was something good. Fie invited Ma and Pa Mellows and their delighted daughter to dinner and a show. ‘ .‘\re you sober. Mat- thew?” she asked, suc- cinctly. “Where th’ am I?” demanded Matthew. “At home,” said, equa- bly. the girl. “Whose home?” ‘Yours,” said Daizie. “and mine.” ( Twenty-nine) A'lOTlON PICTURE CLA5 Daizie glowed. Matthew took note of it and found time to his.s into her ear. ‘‘This isn’t for yon, darn you!” The con- founded girl continued to glow under the hat with the shadowy blue rose. What the devil, squirmed Matthew miserably, were girls with scarlet hair born for . . . girls with scarlet hair who wore blue ro.ses and whispered like a magii in a dream? I'o torture him? To pull at him with soft deliriums? To take his heart and twist it and contort it and toss it about like a shuttlecock? To . . . oh, damn the girl anyway ! Damn the red head of her I Ma and Pa Mellows departed at the end of a crammed, jammed week. They had the time of their lives I exhibition, tho, on a marble slab. Young Matthew tore thil, up. He hurled incriminations frightful to the ear at UilJ Parker. He defended his “damned Redhead” as a mador a blessed damozel, a houri, a combination of all the virtues : none of I'e vices. Hesw-e he would ratff starve than Id her; he ra\d that he woid They had, they felt, crudely, really lived. They thought M a u d i e ’ s the rather be d than withe her. He left house, still r ing. He h Uncle Part disheveled an epito- me of all the heroes of romance, the facsimile of all the plutocratic scions of wealth and prestige, the final authority on all subjects, earthly and ce- lestial. They considered that Maudie had taken rank with the immortals. Maudie was tearfully sorry to see them go. .She would miss them. She had been happy with them. There would be no more comfy par- ties for the four of them. There would be no more of that worshipful Matthew, who threw back his head and laughed with Pa . . . who . beneficent gaze of Ma. of dreams . . . ‘‘You’re not . . . not going to kiss me good-night any more, are you, Matt?’’ she asked him incongruous grinning ho fully. He couldn’t home and f her. His ne\ liberated love long congea within him, v raging like tornado, would be los ft] he went to 1 . who kist her good-night under the There would be no more of this stuff “This is life, l.w heaven !’’ said Mattliew. “This is life, my mate!” “And love,” said the girl, “and love . . . and dreams . . . come true ...” the night the old folks de- parted. Young Thurloe scowled at her. “Pm not on exhibition now,” he reminded her. He was not on exhibition the next night, either, when his plutocratic Uncle Parker Thurloe sent for him and of- fered to reinstate him if he would “cast oft” the little “gut- ter rat” he had picked up with. Uncle Parker was nearly on “REDHEAD” Fictionized by permission from the scenario of Charles Maigne, based on a story by Henry Payson Dowst. Pro- duced by Select Pictures. Directed by Charles Maigne. Starring Alice Brady. The cast ; Daizie Alice Brady Matt Thurloe Conrad Nagel Roly Card Robert Schable Parker Thurloe Charles A. Stevenson Mr. Mellows Charles Eldridge Mrs. Mellows Mav Brettonc now. . . would stumlji to her on humbled kmj ... he wot kiss her han| the tips of 1 fingers . . he would w( ship her a pray to h . . . hewou in brief, ma a bally ass himself. 0 doesn’t do th One plays sa; when one pk saner. He renovat his attire a strolled into! Claridge. He have some cofl -that was his lir now — and then up home. Hoit Daizie was home! Someth! almost unbearable stabbed h at thought of her — then he siji her-^sitting at a table near^i with Roly Card. He s: Roly Card talking with h^|i He saw the play of her han with the stem of her gla^ He saw her as, it seemed \ him, he had never seen b before — a woman, infinity desirable — a woman, his, wi another man. His Redhe' . . . who had toiled for hil saved for him, thought f'^ him, made him. The girl w I had transformed, a round i (Continued on page 70) I (Thirty) © Ira I-. Hill By AILEEN ST. JOHN-BRENON Shot at Dawn It is an unwritten law that brains do not go with blond prettiness. Hazel Dawn is the ex- ception that proves tlie rule. Above, Aliss Dawn as she appears in the stage success, “I'p in Mabel's Room" There are two things that strike you the minute you meet Hazel Dawn. One is that she is pretty and dainty. The other that she has so much common sense, along with de- cided opinions of her own. Somehow you dont quite expect it of an ash blonde. It’s the un- written law* of the Medes and — blondes. Hazel Dawn is the type of blonde who knows what she w'ants when she w'ants it, and she believes in sticking to a thing until she gets it. Not that she makes a fuss if .she has to wait or if things go wrong. She does not believe in getting temperamental and she is not over-fond of people wdio do, but she does believe in carrying out a principle, even if force has to be u.sed to get it. And she has been known on more than one occasion to do it. There is the story, for instance, of how .she treated the young Harvard undergraduate whose attentions became annoying when she was playing in a musical comedy up in Boston. She was coming out of the theater one evening, when a youth, who w'^as very much smitten with her charms over the foot- lights, stepped up and murmured, “Oh, you sweet thing!” Miss Dawn did not appear to notice his observation. Whereat the young man, thinking he had been too reserved, advanced somewhat closer. "You for me,” he chuckled. Miss Dawn hurried towards her car, while the youth, fearing he might thus lose sight of her forever, took her by the arm, and said, “Dont be so stingy with yourself !” Miss Dawn decided to follow his advice. Biff! Bang! He (Continued on page 09) (Thirty -one) Wliite, N. Y. WHOEVER did. o r whatever did, it’s a good job. A thoro one. A com- plete one. And by the same token, there is nothing so difficult to recount as the essential truth. It defies ornamentation as unworthy. It scorns fine verbiage. It evades floweriness. It jeers at platitudes save of the nudest. And I must tell the truth herein, if I never have before, the truth, the whole truth about Ernest Truex because, integrally and es- sentially, Ernest Truex is essential and integral. There is nothing of the m u m m er about Truex. There is nothing reminis- cent of strutting, peacock- wise, the boards ; nothing of the spectacular; nothing of the Jarley Waxwork ex- hibition spirit. He is quite simply Man, the Male. More, he is fundamentally, wholly and avowedly a Family-Man. Capitals in- tentional. He is first of all a Family-Man. In his fam- ily, in the very bosom of his family, rests his interest, his heart and the fine good spirit of the comedy-akin- to-tears which animates his work. He rings true be- cause he is true. He had rather a quaint picturesque Beginning-of- Things, considering the fact of his birthplace, which was Rich Hill, Missouri. Rich Who PuttheTrueinTruex.?^ Hill a typical, rather stultified. seen-in-the-Movies little Western town bather fruex was a doctor. Came there once to Rich Hill a magnificentlv characteristic Old-'Fime Actor, a relict of the Time of Booth, phrase richl'v dear to the hearts of the Craft. He was called Edwin Melvin. He had. describes Truex. with a humorous tenderness, a mouth- that connected the ears with an amazing facility and a staggering display of gold teeth He had rheumatism and he had memories. 'T was with Booth, sir,’’ he would wheeze portentously ; “with Edwin Booth. I was the Gravedigger to Booth’s Hamlet, sir, the gravedigger, sir. With Edwin Booth.” Fate and increased rlieumatics maneuvered Melvin into the hands of Truex pere. Truex pere did things, did great things, sir, for the rheumatics Result: near-death-bed gratitude on the part of the histrionic Melvin and a promi.se gutturally intended to “make a Booth of the lad, sir, a Booth of the lad. ’ The young, six-year-old Jlrnest-lad was nothing loath to be made a Left, a .study of Ernest himself, and, bcloze, Mrs. Ernest and the two Truex kiddies, Philip and Jamie. “My boys and I are pals,’’ says Truex. “I’d rather be with them, doing things with them, than with anyone I know. They’re pretty much the W'hole show with me” Booth of, having cherished in secret rather vaguely Boothian aspirations long ere the ad- vent of Edwin Alelvin. Edwin Alelvin organ- ized a Dramatic School and voting Truex en- rolled. ^ Edwin Melvin was a relict of an Old, Old School. He was old himself ; sad. no doubt. He was sick and weary, an artist who had be- come humorous rather than a humorist. But he zvas a sort of an artist, at least an artist-soul basking in the long-glancing rays of genius dead and gone. He knew the methods of (Thirty-two)- Above, Truex in his dressing-room, and, belozv, as he appears in the stage comedy, “Please Get Mar- ried,” with Edith Taliaferro. Truex has been actively on the stage since he played the role of little Aulus in “Quo Vadis?” as a child White, N. Y. By ESTHER ELVIDGE Booth. And the tricks, if tricks there were. He knew his richness. He had savored his legend. He gave a dark, sombre, heavily fragrant but invaluable store to the wide-eyed, open-eared young Truex. At seven he had young Truex strutting the boards as the Melancholy Dane. Conceive — at seven ! Hamlet, seeped in tragedy, at, seven. “My kids,” said the grown-up Ernest, “sing ‘Over There’ and do a bit of jazzing and that’s the limit. They’ve probably never heard of ‘Hamlet.’ If they have they think it’s some new brand of breakfast food. I’m just as glad.” Shortly thereafter, the Truex home in Missouri broke up and young Truex toured about the country with his mother and another child, a girl, of his own age. They did Shakespeare in all the small towns. Cant you see them? Pigmy Romeos and Juliets languishing with a passion it would take them years to grow and tears to know. Gay Rosalinds, grim frantic Lears, imposing Petruchios, dark vengeful lagos and Othellos. Then some manager saw the youthful Shakespeareans and young Truex played his first real role on the real stage as “Little Aulus” in “Quo Vadis?” From then on he just kept steadily at it, studying when and where he could in between times, working, growing more and more in love with his art, more and more determined to make good. Now, before the low-water mark of thirty, mere adolescence for the fortui- tous male, he is playing on Broadway, has played on Broadway and has ef- fected a sinecure in the coy heart of Gotham, both speakily and screen- ically. He speaks almost with perfervor of Chaplin. Chaplin, the Artist. Al- most with reverence. He would like to be, he says, sort of an “Intellectual Chaplin” . . . not that Charlie is not intellectual — he must be, of necessity, to {Continued on Pope 69) f Thirty-three I EVEio’Booy has been saying, "Isn't it nice to see Mar- garet Shelby working with Mary Miles Minter again?" For a long time the powers that be had . decreed that it was poor business policy to allow sisters to act together. .Mary tried out so many “contrasts” that her pretty blonde head refused to register further impressions of feminine supports, and she sighed with relief when Margaret once more entered the cinematographic arena. Those girls thoroly understand each other. That's one reason why everything moves so much more smoothly when Mary and Margaret are cast together. They are splendid foils for each other, for Mary closely resembles her handsome, blonde mother, and Margaret has the dark, dashing Southern charm of her father. ^ Even in their friendships the girls are totally dissimilar. They never like the same people, and each has her pet feminine chums. Of course, that eliminates jealousy and makes the girls keenly interested in each other’s doings. Their gossipy and cosy little chats are not for outsiders to participate in, but if you have ever wandered around a corner of the big stages at Santa I’arbara, or back on the lovely pergola where the girls pour tea, giggles and imitations will greet you. Margaret Shelby had been spending much of her time in Los Angeles, with Grandmother Miles as chaperone, in order to perfect her voice. She had planned to go back to musical comedy — but when Mary begged her sister to return, Mar- garet came home to Santa Barbara. The other day, in the prpjection room, ever}- one was amused at Mary Miles Minter’s remarks anent her latest pro- duction. While the picture was being run, Mary said, ‘‘Would you look at the little nondescript blonde next to that beautiful dark girl? I wonder why they let her act at all !” Those Shelby Girls But Mary couldn t really help acting. There’s a great secret about it. She was destined by fate to become an actress, and here s how. Before I\Iary Aliles Minter .saw the light o’ day, Mrs. Shelbv was compelled to leave her dearly loved Texas home and move to Shreveport, La. She grieved over the loss of friends, the separation from Mrs. Aliles, her mother, and couldn’t see anything nice about the new surroundings. She voiced her discontent continually, and really gave way to so much self- pity that when Alary was born showing a birthmark. Airs. Shelby felt she had been punished for her complainings. A bright red star showed up on baby Juliet’s forehead, for everybody knows that Alary's real name is Juliet Shelby, and Juliet she is called by her family and intimates still. Airs. Shelby felt convinced that her resentment at being compelled to leave Texas, the "Lone Star State,'’ was responsible for the mark. About two years ago, Aliss Minter subjected her ‘‘star'’ Mary Miles Minter and her sister, Mar- garet Shelby, arc splendid foils for each other. They never like the same people and each has her pet feminine chums. Of course, that eliminates jealousy. They have recently been playing to- gether, altho Margaret had planned to go back to musical comedy. On this page are two studies of Mary Miles' Alinter ' f Thirtn-fovr) By FRITZI REMONT Below, Mary, Airs. Shelby and Alar- (iarct. and, right, a study of Margaret. The Shelby girls live on the no-hreakfast plan, starting the day’s work on boiling water wdth lemon juice. They partake of a light luncheon, never ‘“piece” between meals, and finish the day' with a plain PliDtd liuslmcll to electrolysis, with the result tliat only a faint white outline of a perfect five-pointed star remains, ‘‘right in the middle of her forehead,” where curls hide it so well that no .. The Shelby girls live on the no-breakfast plan, starting their Iiard day's work on boiling water with lemon juice. They par- take of a light luncheon, never ‘‘piece” between meals, and finish the day with a plain dinner, cutting out sweets and sub- stituting fruits. They believe that food ruins more good con- stitutions than the incessant grind before the camera, and that not even a make-up box can ruin a complexion kept lovely by restricted diet. Their complexions prove their theories are right-o, too. one has suspected IMary of being a Texas baby. .Some months later, an astrologer called at the American Film Studios and was introduced to the Shelbys. He was shown Alary’s birthmark and said, "You've always worried about that mark and blamed yourself for its presence, haven't you? You ought to be glad your daughter has it, it is the in- signia bestowed by Fate to foreshadow your young daughter’s stardom on stage and screen.” And they do whisper about Los Angeles now that Alary has beefli seen at the Hotel Alexandria luncheon table very frequently with David W. Griffith and Af^rs. Shelby for chaper- one. The Shelbys had made plans to tour Europe, but it is said that Adr. Griffith wants Alary to do at least one picture for him before she sails abroad. The passports are already secured, but the date of sailing is indefinitely postponed, for the great man has .said ‘‘Wait !” and no one dare disobey. So our little Alary is destined to achieve still bigger things by way of her lucky star. "I think tea-drinking is a silly affectation for busy people, dont you?” questioned Alary Aliles Alinter. ‘‘We serve tea for the sake of our guests, but Alargaret and I seldom indulge — we sometimes make an exception on Sunday afternoons, for then we ‘put on dog' — another thing I despise, for anything which is not natural to one should be taboo, I believe.” A'liss Alinter has other marked dislikes. She despises ‘‘mush letters” and throws them unread into the waste-basket. She dislikes men who stare at her, thinks very young males are usually uninteresting, and wishes she could give up the screen for the stage. On the other hand. Alary dotes on middle-aged, sensible men, likes cigarets when OTHER people smoke them, and ‘‘simply adores” honest criticism, especially suggestions made by fans. As soon as a production is finished, the Shelby girls pack up their frocks and distribute them to less fortunate girl-friends in Los Angeles and the old South. A complete set of ten-year- {Continiicd on page 74) (Thirty-five) Helen Menken, at the left, contrib- utes one of the most interesting characterizations of the season in the human little drama, “Three Wise Fools,” at the Criterion Theater. Her playing of the distraught hero- ine of the Winchell Smith-John L. Golden drama is vivid and compelling The charming Evelyn Gosnell. above, has made a distinct success in the farce-comedy, “Up in Mabel’s Room,” at the Eltinge Theater. A glance at this boudoir glimpse of Evelyn should convince any skeptics who' believe that the drama' isn’t advancing Below is one of the strik- i n g relaxa- tions for the tired business man at the Winter Gar- den, where the extrava- ganza, “Monte Cristo. Jr.,” is successfully holding forth Campbell White fThirtv-six) Summer in the New York Theaters A Cohaiiized opera comique is "The Royal Vagabond,” the colorful and tune- ful musical offering at the Cohan and Harris Theater. The brain of George gives pej) plus romance. Here we have Grace Fisher and Frederick Santley in a charm- ing moment of "The Royal Vagabond” "Good Alorning, Judge,” is doing nicely at the Shuhert theater, thanks to Mollie King, George Hassell and Charles King. One of the pretty aids of this trio is Constance Huntington, whose por- trait appears just above White (Thirti/neven) ) it’s good to be in New York again!” exclaimed \^the beautiful Bessie Barriscale as we entered the tea-room of the Knickerbocker at just the right moment, when the orchestra was playing that soul plaint from “Samson and Delilah.” “Why, that’s Bessie Barriscale,” whispered a young woman' to a friend as we passed. “I thought she was out on the coast.” “Did you hear that?” asked Miss Barriscale as we were seated. ’ “Isn’t it wonderful the way they keep up with us out there? How I love them for that! 1 here s no ])lace like New York, except Paris.” “That’s the first time I ever heard that the two cities j were at all alike.” I observed. “Madame Sarah Bern- ' hardt once told me that Washington, D. C., and Paris arc first cousins in looks, but that New York is unlike any other place on earth.” “And Madame Bernhardt is quite right,” said Miss Barris- cale with her attractive smile and well-bred, sweet voice, with just a trace of a fascinating Southern accent. “But how can that be?” I inquired, completely puzzled. “First you say they arc and then you say they aren’t alike.” “Oh, that’s easy,” merrily replied Miss Barriscale. “It’s just as easy as the answer to a puzzle — after some one has told vou the an.swer. New York is like Paris because, if you want The Gown Quest The Problem of a Screen Star By MARIE B. SCHRADER beautiful gowns, you have to ti'avel three thousand miles from Los Angeles to New York to get them, just as many of your New York women have been accustomed to travel three thousand miles from New York to Paris for the same purpose. Now, isn’t that simple? New York is the Paris of America.” I felt ashamed of my guessing powers after that. “Actresses of the spoken drama,” continued Miss Barriscale (and, by the way, have you noticed with what delicacy of distinction screen stars refer to plays and players of the stage?) {Continued on page 68) I s \ (Thirty -eight) larrated by Permission from the Scenario Based on A. E. W. Mason’s Play By DOROTHY DONNELL riiKOL'cii the filmy dusk the notes of the temple bells floated like the petals of a golden lily, drift- ing languorously on the heavy air. The dim Dom, with its arched casements closed against the ever that stalks thru an Indian night, was reathless, as tho all the air had been sucked out ad nothing but the heat remained, quivering, viscid, )niething that. could be breathed, touched, almost :en. i Stella Ballentyne’s slender height drooped like a lilted flower above the keys of the piano — brought 'f ox-cart from Bombay. The white curve of her iroat was etched against the dark wall hangings, le tender modelling of chin, a mouth like that of le Venus of the Louvre, passionately carven, al- lost as colorless as the insensate marble. For the :st her hair was a soft blur of pale silver-gilt, and le light from between the shutters fell on her leautiful dinner gown, waking fires in its iridescent leen so that she seemed to be sitting among stream- ig flames. The man in the doorway watched her thru nar- t')wed eyes ; his handsome young face, with a certain harseness in its heavily modelled features, seemed ') stir and twist, tho it might have been the ef- .jct of the shadows that moved constantly in the ooni, cast by the passers in the street beyond the ;alf-closed shutters. Harry Thresk was no novice f Love ; he knew well what it was he felt for this ale, slim English girl whom Captain Ballentyne had rouglit back to the great house of the governor- eneral ten months ago ; he knew what he wanted — I'E thought he knew how to get it. He had been iscreet, playing his game without amateurishness, ut tonight he meant to show his hand — I The slender fingers touched the keys languidly, fid the ghost of an old Engli.sh love song crept into ■le fetid air, like a strange breath of wild roses down from some Lancashire lane — “Oh, that we VO were maying.’’ In the heavy atmosphere of , idia, sick with spices, heavy with decay, musty, unclean, it seemed an alien thing, like the woman who played it with hunted eyes and tightening throat. England ! Less than a year ago, yet .she had been an exile for uncounted years, she A story of love and 1 tragedy in mysteri- ‘ ous India amid the call of the temple bells j tl (Thirty-nine) 1 I had heard the temple bells pealing thru immemorial dusks like this, she had awakened in a myriad blazing dawns to shudder away from Life afresh, and accept it, and go on. Her “head drooped forward, and a tear splashed hopelessly down on the keys. She was not given to crying, not even her ayah, the secret, brown woman who dressed her masses of fair hair, and put her sumptuous clothes upon her beautiful passive body, had ever seen her cry, but that song was like a touch on the quick of her soul. “I cant bear it,” she whispered, “I cant go on — ” A step sounded on the rug beside her, and a hand, cold even in the paralyzing heat, touched her arm. She sprang up quiv- ering and faced Harry Thresk’s covetous smile. He spoke in a low voice that seemed to insinuate many things, intimacy, a secret shared — “Stella — I heard you. You shant bear it, any longer, you shant go on!” The wife of the governor-general held her head high, forc- ing her lips to smile gallantly. She drew her arm from his touch without haste yet with a sort of inner withdrawal that should have warned him not to go on. ‘.‘Mr. Thresk ! You — startled me — I was indulging in a good old-fashioned fit of the blues. The heat 1 .suppose ; 1 cant seem — quite to get used to it.” He brushed aside her words impatiently. He had gone too far to draw back now, and besides he thought he had read her rightly, her shrinking horror of the man she had married with his cras.sness, his parade of ownership, his reputed brutal- ities. “Dont put me ofif, Stella! I tell you 1 heard you, and I’ve been watching you for months. You’re unhappy, fright- fully unhappy — no one who loved you could help seeing that, and I love you ; I’m — I’m crazy about you, for you, you Won- der Woman !” “Hush !” Stella Ballentyne said faintly. “You mustn’t — you dont know what you’re saying — ” He j)ressed her mercilessly with his insistence. “Come with me, tonight — back to England, away from all this heat and stench and misery. Think of the cool green of the lanes, and the cool blue of the sky, and the little thatched cottages cuddling around a stone chapel — ” he was wise enough to leave his own passion in the background and play upon her homesickness like an instrument, but she moved from him restlessly, the cold light from the window writhing across her bared bosom and drawn face like the shadows of flames. ‘‘No! No! Someone is coming — ” she gave a breathless laugh — they train women well in these things. “I’m afraid I dont agree with you, Mr. Thresk — Bombay is more like De- bussy than Wagner ; what German could ever have set this crimson exotic, this musk and murder, to sound?” Curtis Ballentyne, beefy, flabby of flesh under his heavy jowls, aggressively the master, stood on the threshold looking from one to the other without suspicion. He was so self- centered that he was not even jealous; besides, any man who was not a milksop could hold his wife — there were ways — “What rot are you talking- now, Stella ?” he grunted. “ ’Lo Thresk! Got a match? These damned native things wont light.” The flare of the lucifer lit up his coarse-grained skin, his wiry black moustache, the web of fine lines radiating from his eyes. He was very pale, with the bluish tinge of skin that in men of a certain temperament denotes either drugs or drink ; his wife glanced shrinkingly at him, then away with a flicker of dread in her eyes. “I was just telling Mrs. Ballentyne that she should be think- ing of taking to the hills if this weather keeps up,” Harry Thresk said easily, “even the natives were bowling over in the bazar today. Bombay’s no place for a woman before the rains.” “Luckily,” Ballentyne said suavely, “luckily my affairs will take us out of town for a few weeks ; — this government inspecting has its advantages, Thresk. My wife and I start for the jungle tomorrow morning.” A sound, neither a cry nor a sob, but something formless and inex- plicable, drew their eyes toward the woman by tlie dimly outlined casement. She was standing rigid with a curious, tense expectancy, as tho shrinking from a blow. Her eyes were dark pools, with terror in their depths. “The jun- gle,” she spoke in a flat tone, “the jungle,” — the tone vibrated to life, agonized, importunate — “no, no, I wont go 1” MOTION PICTU|' A sound, neither a cry nor a sob, but something forml| and inexplicable, drew their eyes toward the woman by ' dimly outlined casement. She was standing rigid, with a ( rious tense expectancy as tho shrinking from a blow. Her e- were dark pools with horror in their depths. “The jungle,” iig spoke in a flat tone, “the jungle — ” the tone vibrated to ii( agonized, importunate; “no, no, I wont go! Curtis, you make me go !” Ballentyne strode toward her and gripped one bare shouh so that his sinewy fingers sunk into the flesh, but his voice \ :lassic old. “That will do, Stella — no heroics ! Get to bed, and tell I'anah to pack your grip.s. Il'e leave at ten.” 1 She looked at him dazedly, then the light left her face and syes, leaving it blank, wiped of expression. Silently she moved icross the room, draperies rustling like dead leaves, and the larkness of the corridor swallowed her. Ballentyne flicked he ashes from his cigar and sank heavily into a chair. “Hys- erical — the heat affects women queerly.” He fumbled in his I oat and drew out a packet which he handed to the other [inan. “Here's that photograph of the outlaw, Gunga Dak, I spoke to you about the other day. It must be delivered to the authorities at Calcutta this week and his friends face.' (Forty-one) pocket, but they wont suspect you have it. Take it up when you go Wednesday, will }'ou, old man? — you may save my life. There hasn’t been a day since I got hold of it I haven’t had the sensation of having a knife stuck in my back when- ever I’ve been out of the house! A native is glad of a chance to do murder for the price of a meal, you know.” Harry 1 hresk thrust the packet into his coat and^rose. “Sure, glad to do it ! It would be annoying to be murdered, I can see that myself. .So long, old man — say good-by to Mrs. Ballen- tyne for me.’’ In the hot dusk he stopped on the terrace of the house to glance back. Outlined against the light of an upper window stood a woman's figure looking out into the night with arms raised behind the fine gold nimbus of her hair in an abandon of despair. He stared up at her with tingling nerves. “Not yet, perhaps, but some time,’’ h e muttered, “as sure as she is a woman and I am a man." Harry Thresk did not return from Calcutta for a fortnight, and news trav- els slow in In- dia. It w a s not until he came back to B o m b a y and dropped in at the Consulate Club that he heard what sent the glass of whisky and soda crashing from his fingers. “Too bad for a pretty woman to get into such a mess!” old Purdy, the tax commis- sioner was saying, unctuously, “but after all any girl who would marrv a rotter like Ballen- tyne—”’ “His character is no excuse for her murdering him. tho” — it was at this point that the crashing glass drew all eyes to Thresk's shocked e.' “What are you talking about?” he demanded loudly. ‘“Ballentyne you said — and murder — ” “Where have you been, son?” McConnell of the artillery slapped him on the shoulder. “Why, the Ballentyne afifair is the talk of the place ; we haven’t spoken about anything else since they brought the governor- general back from the jungle with a knife stuck thru his heart a week ago. His servants accuse Mrs. Ballentyne and she has been arrested. The trial comes off Saturday — Hey ! Drink a drop of bmndy, man, you look as if you'd seen a ghost !” But Harry Thresk pushed the glass aside, and moistened his dry lips with his tongue. “She didn’t do it,’^’^ he muttered ; “why — look at her ! It’s impossible — ” Yellow^ hair isn’t a good alibi, tho, my son,” McConnell objected ; “of course we’re all sorry for her — Ballentyne was a sw’ine when he was drunk, which was most of the time, but after all he was her husband and, if all wives who disliked their MOTION PICTURE Cl. AS The Ballentyne trial was 4:he sensation of India. The court room was crowded and the narrow, crooked streets about it were thronged with curious groups, clamoring to see the beautiful prisoner. Stella Ballentyne sat thru the opening hours in the witness stand and answered tunelessly the questions put to her. In her dead black garments, with her white face and the faint fine gold of her hair under the drooping black veil, she made a striking picture that might have, been labeled “Tragedy.” Only her eyes, burning with pain under the heavy lashes, were alive: the rest of her was a beautiful corpse-creature, indifferent to stares, to danger, to the stab of intimate questioning. “Yes,” she told them, “we had quarreled. He had been drinking — that was why he went to tlie jungle on his ‘tours of inspection’ {Continned on page 64) husbands went about sticking knives into ’em it would make it darned uncomfortable for most of us.” Thresk shouldered his way thru the group and called for his hat and coat furiously. He wanted to get out where he could think, could plan. He stepped out under the scintillant Indian heavens, trying to picture Stella Ballentyne, with all her soft luxuriousness, her frail, faint beauty, in a prison, and invol- untarily his muscles tightened at the thought. He had felt for her as deep a feeling as his selfish sensuous nature was capable of ; he felt for her, besides, the desire for possession which would not brook denial. "Did she do it?” he asked himself fruitlessly as he paced the deserted bazar. “She was afraid of the jungle, afraid of him — but those little hands! Still despair will give a woman strength for anything. Yes! She must have done it. But she shant pay for “So that was why,” Stella said, slowly. “I might have known. Men dont help a w'oman except for pay” “THE WITNESS FOR THE DEFENSE” Told in story form, by special permission, from the scenario of Oilida Bergere, based on A. E. W. Mason’s drama. Pro- duced by Famous Players-Lasky Corporation, starring Elsie Ferguson. Directed by Seorge Fitzmaurice. The cast : Stella Derrick Capt. Curtis Ballentvne.. Henrv Thresk Wigney Derriek Dick Hazehvood Harold Hazelwood Teresa Derrick Mary Derrick Blanche Standing Baram Swigh Richard Petti fei 1 I \ Hale Fellow W ell Met By SUE ROBERTS [ AM afraid,” said Creighton Hale, as he greeted I us, “that I am going to make mighty poor i copy- ” „ Promptly we made use of our ever-ready “Why ?” “Because,” he answered, while an amused smile irved the corners of his clean-cut, boyish mouth, cant talk about my favorite country estate, nor lout my preference for my Rolls-Royce to any lerce Six, nor can I say that my pet dog is a thou- nd-dollar pom. So, so far as a press story goes, you ive picked the wi'ong person.” Our spirits rose. We were decidedly tired of talk- g to stars who owned every extravagance. We garded the young man beside us with respect. He looked like a prosperous young business man. is clothes were well-tailored but did not spell ■ eater. He wore no jewelry. He made no attempt be impressive. He was natural. “I hate press stories,” he went on. “In order to up to publicity printed about them, stars would ive to be millionaires a hundred times over. You int fool the public ! They know that, with the ex- iption of two or three, actors are not millionaires, id it only makes them ridiculous to chant about leir ranches, farms and country estates — in the ural. And anyway, does the' public go to see us for hat we have or what we are?” Truly that round, boyish face masked a man’s ind. “We work hard. Day after day, when I was [orking in the Pearl White serial, I left my house at •reat Neck at 7 a. m. and drove the little old bus Jersey City, worked steadily all day, coming home y old hour at night, sometimes so utterly fagged d fall asleep at the wheel — and catch myself making bee-line for an obstructive lamp-post.” “You are an American ?” we hazarded. “Su-r-r-re arid I might talk like this,” said he, illing his r’s maliciously, “Oh, Irish?” “Right, born in Cork . . . and ” Seeing there was no way out of it, he recounted is history. Creighton Hale’s father was an Irish singer and lanager, who used to tour Ireland in repertoire. It as only natural that the lad should go on the stage ; 5 a matter of fact, he was carried on before he could alk. Later he played all sorts of little Willies all ver England and Ireland. His histrionic activities were interrupted for a me when his father sent him to school in London, here he took up electrical engineering, but gave it p as a bad job and returned to the stage. Ten years ago Hale came to America with Ger- ude Elliott, (Lady Forbes-Robertson), and her Dmpany, remaining here ever since. His account f his first knowledge of pictures was told with true Irish sense of humor. “I had known House ’eters,” he said, “in In- ianapolis, where we were loth members of the same ock company. When the ;ason ended I came to few York to hunt a job, we all do. One after- oon, while parading roadway, I met a friend fio said that a company {Contimted on page 82) Creighton Hale was born in Cork, which makes him Irish thru and thru. His father was an Irish,, singer and manager who used to tour Ireland in repertoire. It was only- natural that the lad should go on the stage; as a matter of fact, he was carried on before he could walk (Forty-three) Ira L. Hill’s Studio 1 \ Just above, Phyllis Haver (left) and Har- riett Hammond, a Mack Sennett newcomer, are trying a tilting match to the starboard of the Sennett lot The 1919 Bathing Girl Arrives Miss Hammond and Marie Prevost are ex- perimenting with a little “shimmic dance.” The space is limited, hnt then you dont have to move — your feet, that is — for the “shimmie” A sea-going close- up of 'Miss Ham- mond is at th( right (Forty- four) Note the effect of the farmerette movement upon the Mack Sennett girlies. Instead of the conven- tional bathing-suits, the Sennett beauties are don- ning the simple and unaffected overalls. Person- ally, we arc strong for the maritime farmerette, when it is either Phyllis Haver, who is very much at the right, or Marie Prevost, in the fencing pose just above Photos Copyright by Mack Sennett I 1 i I [ \ /i It I I is iS (Forty -five) The Celluloid Critic Turn in the Road” is not J[ a human document, but it comes nearer being one than any photoplay we have glimpsed in a year of movie-going. King W. Vidor, hitherto known to fame as Florence Vidor’s husband, wrote and directed the story for the new Brentwood Films. And, were we a screen magnate, we would have been sitting on INIr. Vidor’s doorstep the morning after seeing “The Turn in the Road” — and a blank contract would have been in our hand. For, in one single picture, Mr. Vidor steps into the front rank of directors. “The Turn in the Road” touches upon a tremendous theme. What is life? Paul Perry is dazed by fate when death takes his little wife just as a child is born. Her father, a clergyman, tries to comfort him by declaring it is God’s will. His own father, a man of wealth, has promised to do everything that money can do. The boy turns from them both and disappears into the night. His lonely wanderings in quest of the true God take him far, but finally he returns and .drags himself, half-dazed for want of food, into the hayloft of a barn, when a little boy, his own child, crawls up the ladder. Then, in a scene exquisitely touching, the embittered man learns the truth of life from the tiny boy. “Pve been hunting for God,” he says, and the child answers, “Why, I could have told you that — God is love and light. He is ever; where.” When the man protests, the child goes on, “When yc close the blind a room is dark — Sorrow is where you never fi love in.” Then his dead wife’s sister, who has loved him alwa; and cared for his child thru the years, comes — and out of tl wretchedness of the past appears the foundation of a new ha] piness. Mr. Vidor’s doctrine is applied Christian Science, but “Tf Turn in the Road” isn’t a preachment. Twice it sweeps l superbly moving climaxes. There is tiie love story of Paul an his girl wife amid the gentle atmosphere of a small town. Hei is a slice of life itself. A^gam there is the return of Paul and h discovery of the secr€fm life. Mr. Vidor has lapsed into melt drama in telling his story, but his lapses are so far offset by th cumulative power of his directness that they are forgivablj “The Turn in the Road” is a mighty big thing. The photodrama has able handling, from little Ben Alexar der’s touching Bob and Helen Jerom Eddy’s sincere June to the distraugl Paul of Lloyd Hughes and the brief bu sweet little w i f e of | Pauline Curley. At last ! David Griffith has contrib- u t e d something to the screen which deserves its meed of praise and which — at moments — flashes to brilliant humanness. It is “The Girl Who Stayed at Home,” (Artcraft), which is, at basis, just another war story. This time Griffith takes two love themes, first the' story of a typical, healthy young Ameri can and his French sweetheart, and, secondly, of t h e chap’s weak, lounge-lizard Norma Talmadge, (left), was never bet- ter than in “The Pro- bation Wife.” Wil- liam Hart, below, undergoes a convict haircut in “The Poppy Girl’s Husband” “Boots,” (above), has the finely unn strained Dorothy Gish and the finely r strained Richard Barthelmess. ( Fort u -six) By FREDERICK JAMES SMITH brother and his cabaret light o’ love. It is in this second theme — in its showing how war regenerates the two — that Griffith touches his heights. But the director must have his war, and we are shown how the two brothers rescue the little French girl, undergoing the usual embrace from the usual dastardly Hun officer. , There are two or three remarkable scenes in “The Girl Who Stayed at Home’’ — bits of life showing the director’s uncanny insight into femininity. It may sound odd to mention a little moment where the cabaret girl — who but Griffith would dare to call her Cutie Beautiful? — cuddles into a huge chair and whis- pers nothings into a telephone. But the blinding flash of great- ness is here. Again, in a moment where the lonely girl half sobs, half dances as her phonograph grinds out a rollicking war litty. It is here that Clarine Seymour stands out so brilliantly. Griffith has a genuine discovery in Miss Seymour, (vhose • playing is vivid in every detail. \nd Cutie Beautiful’s fascinating ‘shimmie walk’’ ! The screen has had lothing like it since Dorothy Gish’s little disturber came glid- ing across the silver- sheet with piquant boisterousness. In one other thing Griffith’s “The Girl Who Stayed at Home” stands out. He has dared to present a kindly German soldier, even to showing the man leaving his old mother ill the fatherland. Yet shortsighted critics have condemned this broad- mindedness. It is in these few flashes Clarine Seymour, right, stands out bril- liantly in Griffith’s “The Girl Who Stayed at Home.’’ Belo-ib, “The Brand’’ is an interest-holding Rex Beach drama, largely due to Russell Simpson’s playing r. st across, Helen Jerome Eddy and n Alexander in King Vidor’s re- irkable photodrama, “The Turn of’’ ; Road,” and below, Lloyd Hughes i Pauline Curley in the ^ame play. that Griffith rather restores our faith in his leadership. If only he had liter- ary discernment ! “The Girl Whc Stayed at Home,” credited to a mysteri- ous S. E, V. Taylor, is banal stuff, another variation of the old Biograph chase. Miss Seymour overtops every one in the pro- duction, altho Bobbie Harron indicates the re- generation of the weakling with broad strokes, . Richard Barthelmess is commendable as the brother and^fe^rol Dempster satisfactory as the Parisian sweetheart. There are several reasons why “The Brand,” the Goldwyn adaptation of the Rex Beach story, held our interest. Here, indeed, is the dance-hall girlie of the Yukon, the gold rush, the mushroom mining town, the scoundrelly gambler and all merest.^ But The Brand” grips because it tells a direct story that isnt warped to fit a star and which is staged with ^zens and dozens of differences from the conventional movie idea of the Northwest. This last we credit to the personal supervision of Mr. Beach himself, who surely knows his Yukon country, and to the able Reginald Barker, one of our most dependable directors. c that this story of the middle-aged miner who tails blindly in love with a dance-hall girl will hold you absorbed. Russell Simpson plays the old fellow superbly, and- {Continued on page 88) (Forty-seven) OUT of the chrysalis seclusion of unpleasant ex- periences, both business and domestic, comes now a regenerated, more sparkling Louise Glaum. Unfortunately for Thomas Ince, he was unable to take Louise under his wing personally, for his re- leasing contract called for but four stars, but as he’s mighty fond of the Lady of the Peacocks, he suggested that J. Parker Reed be his proxy. In this way, Miss Glaum has all the advantages of the most up-to-date studio in the world, advantages which cover stages, props, laboratories, interior decorators, and every possible accoutrement of the modern motion picture. Louise Glaum's new dressing-room suite is in The Luxurious Louis “Star Row.’’ She’s right next to Charlie Ray and Enid Bennett, a opposite the big swimming tank which will furnish her with lots amusement in spare moments. You never saw Louise in a swi ming outfit, did you? Miss Glaum says for once in her life 5| will allow the fans to see her in what she calls her “naughty-naughtie because most folks seem to think she lives in flowing draperies a fish-tail gowns. The decorators at the Ince studio finished the little suite up beat! fully, of course, each star bearing his or her own expense of inter: fittings. One steps into a reception room whose windows are drap in pongee with side-drapes of heavy, dull blue. The wall paper is ij blues and grays, and the pictures are soft tones of blue, gold or gnj* There's a couch in the blue and gold with ver}' lovely hand-bullionH cushions, wicker chairs, a harmonious rug, a tiny desk which netH in the world is going to hold Louise's fan letters, and best of all new-fangled gas-heater which keeps the place comfy in the chillii times. Any one who has lived thru the oil-heater stage of Los Ange studios will appreciate this innovation. Adjoining this room one finds a ti dressing-room, separated from it monks’ cloth curtains stenciled in bli Could a star possibly be more comfo ably housed? “Are you going to light-houseke j here, Miss Glaum?’’ I nosed in. “I really could live here, could: I ? If we ever get flooded out in rai season, I may stay overnight on ij box-couch and cook a simple break fj on the gas-heater. Anyway, I'm goi Louise Glaum is an odd type. Known to the screen as a ‘'vampire,” she wholly loves home life and seclu- sion. Most of all she longs for housekeeping, a fireside, a good book and her pet dog, Runtle. Below is a home study of Miss Glaum and her mother Photo by Hoover “I’m very liappy now,’’ says Miss Glaum. “I’ve gained much knowledge, I have philosophized and learnt that loss is often gain. ... I want to play real women in the future. I want to live the women who suffer nowadays. It’s not real to be sinless, none of us have reached that stage’’ }y MARY KEANE TAYLOR 0 have tea things here and you’re nvited right now to partake.” But Miss Glaum doesn’t have a live in tiny quarters like this, or you see she has a beautiful losed car, a reliable chauffeur nd a house in Los Angeles /hich is run by a maid who dores her, and protected by Runtie”---her most beloved pos- ession, the little bulldog who ?as left to die by some unfeeling oik, and whom Louise nursed ack to life for three months of is early career. Runtie, being grateful little brat, lived to be is mistress’ shock-absorber and e endeavors in every way to eep her from harm. “Runtie hates to ride on the ront seat with my chauffeur,” lid Miss Glaum. “He wants to it inside in state, but he gets so xcited if other dogs pass us in lachines, that he tumbles all over ly clothes, and chiffon draperies ?ont stay pretty with doggie-toes igging into them — for, you see, often dress at home and then lotor out. Sometimes my frocks re just yards and yards of eorgette, net or chiffon put on y my dressmaker at home as it 'ould waste too much of her time D go to the studio with me. I {Continued on page 62 ) (Forty-nine) ND Still they come ! Beauties from every clime _ to seek fame and fortune in the internations contest of The Motion Picture Classic am Top: CAROLYNN BROOKS Right: TOOTS SANOELL Below: EVELYN JEWEL POUTCH Photo by Motion Picture Magazin Who could conceive of s many beauties — and so man varied tj^es of prettiness ? Th originators of The Fame an Fortune Contest little rea ized the amount of feminin pulchritude in the world. Ir deed, the judges are bein fairly swamped with thousanc of portraits, the large percen’ age of which are out of tb ordinary. Among the young folks froi outside the home borders c our own states to enter Th Fame and Fortune Contes Vip (Fifty) Photo by Empire, L. A. ‘ ivery Land vontest Photo by Carey Art Stuuio Top: - GEORGE W. SMITH Left: BEATRICE ELLEN LEVEY Lower left: MARIE JOSEPHINE STADLER Lower right: MINNIE GAYNOR clerked and ran errands until she earned enough to go to Wyoming, where she rode in the several round-ups. She taught in a private school, homesteaded under the orphanage law forty miles from the nearest settlement, got a cattle herd and finally bought a ranch in Colorado. Miss Sharon says she has been in concert work, killed deer in Montana, shot elk in Wyoming and panned for gold in Colorado. We would like to add that she made a place in the eighth honor roll of The Fame and For- tune Contest. Miss Sharon might — if she would try again with new photographs. The judges of Tpie Fame and Fortune {Continued on page 84) is little Kikui Yamamoto, a Japanese lassie of Pearl Harbor, Hawaii. A dashing |WOuld-be masculine star is Emilio Ad Alba, of 1279 Dagupan Street, Manila, Philip- pines. Still another is Roy Alan de Mer- cado, of 84 Naover Street, Kingston, Ja- maica, British West Indies. And a striking Spanish type is Marta Tglesias Castellanos, of Colon 1381, Montevideo, Uruguay. These representative folks from outside the boundaries of the United States proper just missed out getting into the eighth honor roll by a narrow margin. In at least one instance bad photography prevented an accuiate decision. The month’s contestants brought to light a young woman with a remarkably inter- esting career in Mary Sharon, of the Hotel Broadway, Los Angeles, Cal. Altho but eighteen and born in Johan- nesburg, South Af- rica, Miss Sharon states that her parents were killed in a cy- clone at Miami, Oklahoma, when she was thir- teen. She (Fifty-one) 0 H. B. Warner Photoplay CAREW (Fifty-two) N the tent of Ali Zaman, (him whom they call “The Raider”), the moon- light lay on the outspread carpet in spectral pools, like dead daylight. In the distance a camel screamed and the dogs of the camp lifted up a moaning chant to the moon, but in the tent was silence and a sense of waiting. The motionless figure, squatting on the floor cushions, did not stir when light shadows flitted over the pale, moonlit spaces before his brooding eyes — shadows of Arabs with tur- baned heads and fluttering draperies, slim, secret shadows of women carrying water- jars on their veiled heads, the grotesque simulacrum of camels, gaunt and furtive, a little dancing shadow of undraped comeliness, maiden slender, frolicking with its own loveliness. At la.st there was a thud of hoof-beats far out across the sands. A stir of ari'ival swept the camp. Voices shrilled, dogs barked, and the sands softly crunched under hurrying feet. Still the silent fignre did not stir. Even when a huge Arab strode thru the opened flap of the tent and salaamed, he only turned the cold glow of his eyes upon him without speaking.- “Spokesman of Allah,” in- toned the newcomer, “greet- ings !” “And to you,” his master said curtly, “what hast thou brought from the well’ of El Mudir?” “A prize more precious than rubies, more sparkling than diamonds, more glorious than the noonday sun,” averred Joudar, the chief of the plains- men, with a moistening of thick lips, “a woman as white as moonlight, as soft as the simoon, as fragrant as the vales of Araby ! A woman w'ith skin like the ” The man on the cushions waved his hi “Peace. Bring her in.” Joudar, dammed in the full flood, backed gasping with stifled words of admiration, returned half leading, half carrying a si figure in the crook of one immense 2 “Behold !” There was regret on the fierce, dark face of henchman as he surrendered his plunder and stood back, fe ing his eyes on the white forehead under the torn, dishev' hair. Brown maidens were well in their way. and b' maidens had their charms, but this one had skin like milk white velvet and pale flower petals, and her lips were a ; red line instead of full and pouting . . . “Joudar, leave us,” Ali Zaman said heavily, “and see th be not disturbed. Remember, if so much as one camel wl per, or one dog snarl, they shall be strangled. And if a i come across my shadow tonight it would be better for that he had never been born !” “Allah is the only God, and Ali Zaman is his mouthpiec Joudar promptly responded, flexing his mighty waist mus« Salaaming, he disappeared and the tent flap fell behind 1 erasing all light. The ht panting breathing of the < tured girl sounded in the lence. She stood droo] where the great encircling . had left her, clasping and clasping her small hands u her slight bosom. And ing happened. Moments passed, freigl with heavy waiting. Then if the cry was torn -from i the girl screamed hysteric; once, twice. Afterwards flung a bare white 'arm ac her mouth and set her t into the flesh, eyeing i “THE AIAN WHO TURNED WHITE” Fictionized from the photoplay by George Ehvood Jenks based on F. McGrew Willis’ story. Produced by Jesse D. Hampton for the Robertson-Cole Company, being re- leased thru the Exhibitors’ Mutual. Directed by Jesse D. Hampton. Starring H. B. Warner. The cast; CapSnTnl,„r Ra„J ! = Warner Ethel Lambert Barbara Castleton Mrs. Mirabeau Eugenie Forde Capt. Cecil Beverly Wedgewood Newell Joudar ' Manuel O’Jeda Hans Mirabeau J. Dwiggins Fanina Carmen Phillips OTION PICTURE CLASSIC iman across the slender barrier with wide, fear-darkened es. His slate-blue glance met hers like steel. “Whence came you, daughter of an alien race he asked, a deep voice. “Have you no friends to keep you from andering on the great plains ?” Hearing her own tongue from that dark, my.sterious coun- nance, the girl took a step forward, hope flickering into her ''es. “Will you set me free?” she whispered. “Surely you ill not keep me here — they will be an.^ious ! They will not low what has happened ” iThere was not a hint of .softening in the granite wedge of ice that looked sombrely forth from the folds of the white rban. “Ali Zaman never frees his prey. Come hither, and t me look at you and see whether you suit me.” She did not\stir, but the darkness pulsed to her defiance, hth a, lazy motion of one hand he struck a flame on the tripod ;side him, filling the cone of the tent with a bluish vaporous ow. In it they regarded one another, the man with stilly liling lips, the girl with brave disdain. She was a littie ing that could be crushed by a man’s hand, with hair like mey and brown eyes and the smallest hands in all the world. “Well ?” she asked, presently, when he had taken his fill of ‘r youth and sweetness and the incredible whiteness ' her skin. “Well ?” He nodded slowly. “You plea.se me. You ease me very well. Come to me, flower of e far away. Do not be afraid of me, but ) not cross my will.” Even the thin thread of her lips lost 5 color, but she did not stir. He rose his great height, arms folded, the hite folds of his robe giving him a ajesty that even in her terror she lilt. “I am Ali Zaman,” he spoke owly. “I do as I will with whom will. You shall be my beloved ir a space ; it may be little, it ay be long. The world has )ne cruel things to me — why lould I show mercy to any in ? Mercy — a coward’s word !’’ Over the top of a leveled pistol the girl’s eyes flashed. The Arab chieftain touched his belt. A smile bent his lips, tribute to her cleverness. “And if you do,” he said calmly, "what then? How far do you think you could run from my avengers? How long could you live on the desert under the ])itiless sun?” Eut she was not listening to him. Pistol slipping from her relaxing fingers, she stood staring at him with such distillation (if horror in her face that his eyes instinctively followed hers 1o where, in her struggles, she had torn a rent in his cloak. "So!” — the scorn of her voice was like red-hot iron, branding his soul — “so — you are a white man ” Underneath the snow of the draperies his flesh gleamed in the faint light, not brown and desert-colored, but as dazzling white as her own ! For a moment he gazed down into her eyes with a curious look, as tho pleading with her not to judge, not to despise. Then, turning on his heel, he left her alone in the tent, the wind of his passing sending the shadows of the flames on the tripod flaring over his white robe. Ethel Lambert felt her He saw a wave of color sweep the lovely face before him, and knew that she had remem- bered him. and that she was not angry —did not hate him. I And when she still would defy him he stepped foiwaid and iaught her to him, holding her passion-close, his breath burn- jig on her hair. With a little low laugh of triumph he bent p her lips, but the kiss never scorched them. “Stand back!” knees faltering beneath her. Wave on wave of faintness beat on her brain, engulfing it, and she fell in a little cfumpled heap among the silken cushions. When the world crept back, there was' the night wind on her forehead, and overhead, very strangely far away, the familiar stars. Somewhere there was (h'ijty three) MOTION PICTUI JlS Behind the billow of- sand a shrill sound rose and keened along the sky, mournful, ineffable. She laid a steady hand upon his sleeve. “Is it death?’’ It is death,” he answered solemnly. motion, like a wave lifting her to and fro ; somewhere there was an odd sound, like a heart beating fast and loud in her ears. Then she knew it was a heart, and her cheek was pressed against it, and the wave-like motion was a horse be- neath her galloping over the shifting sands. Opening her eyes, she looked up into a tense, dark face lined like a mask of pain. Ali Zaman spoke flatly, thru set teeth. “I am taking you back to your people.’’ A ripple ran over the brown skin. “I found I was too much of a — a white man to keep you.” The girl, clasped against the thudding of his heart, watching the pale streaming of the stars thru the vast spaces above her, swayed to the tune of the powerful steed's galloping, felt a strange sense of familiarity, as tho she had known always that this moment would come. Per- haps— a tug of awe stirred her heartstrings — perhaps that was why she had come to the great desert; perhaps all her life she had been traveling to meet this wild, primitive mpment thru her safe, conventional days. “We are almost there,” A Zaman said briefly. “Hark !” Somewhere ahead in the night the sound of music came he turned and, leading his horse by the bridle, strode out ir the desert, more than mortal tall in his white robes, beside t white horse under the white moon. Then the hot tears blott him from her. Late that night out in the desert a man sat, sinewy han clasped about his knees, and stared desolately into a futu darker than the midnight sky, lonelier than the vastness the desert stretches, unillumined by a single star of hope. I could not go back to his band of raidei he could not go forward. For loi hours he sat there motionless as 1 had schooled Ali Zaman to s When he rose finally there was bitter smile upon his lips and h to their ears, and the mist was pricked with needle-points of lights. The man descended, and set his burden down, gently supporting her until life crept back to her cramped limbs. “The town lies a step before you,” he said, pointing. “I can go no farther with you, for if it were known that Ali Zaman had brought you out of the desert your reputation would be gone !” He laughed without mirth and was turning away, but her hand on his white sleeve restrained him. “Wait !” she whispered. “I cant let you go without knowing more — saying more ” He shook his turbaned head. “Words cannot mend what deeds have done. Remember me, if you are merciful, as one who has suffered much from the world and wished to repay what he could in kind. Remember that I did you no harm. Or better still, do not remember me at all ! And now„ daugh- ter of the green lands, good-night and good-by!” She looked up, a long way up into the dark, tragic face, tvvisted with pain. “My name is Ethel Lambert,” she said, with difficult lips. “I am traveling with my uncle and aunt. I wish you would come with me and meet them. They are very kind people, and they would understand, and try to help — — ” “There is no help !” It was a wild, passionate cry. “There is no help for those in hell !” He controlled himself sternly. “You do not understand— some things. When a man’s honor is lost he is dead to the world that knew him, tho his body may be a traitor and refuse to- die. I am an outlaw, so I herd with other outlaws until I have forgotten — almost the ways of my kind ! Or I had forgotten until tonight ” He knelt suddenly before she knew what he was about and touched his lips to the hem of her skirt. Then, with a salaam. eyes were hard. He struck the Arab steed a blow on his flan and watched him disappear, with dragging bridle-rein, whenc he had come; then, turning, he strode into the town, keepin, to the byways, until he came to a low iron door set in a blanl brown wall. From a cord about his neck he took a key, se it into the lock and bent his great height to enter. It was late the next afternoon when the door opened agaii and a tall, lean man, dressed in tourist garments with linei suit and cork helmet, came out and stood for a moment gazinj about him without curiosity or emotion, tho a muscle in on bronzed cheek twitched spasmodically. It was a hot day, the sunshine a turgid yellow on the narrow cobbled streets, the sky a glaze of blue that seared the eyes t(i look at. The heat shimmered in the air, distorting the passers orange venders, Arabians; now camel drivers; women, veile( and cloaked, sending arrowy glances thru the eye-slits of theirj veils. The man in the pith helmet regarded them sombrely. He seemed to be steeling himself to something. At length hcj moved forward, holding himself very erect, tho his glanc< cringed involuntarily when it met other glances, and once, ajj an English army officer strode down the pavement, he seemec on the point of flight, but setting his jaw, went doggedly on In a wdne-shop he flung himself dowm and ordered cham-1 pagne, but when the bottle was brought he seemed in no hastf*. to drink. His eyes, roving among the shadows, had spied other eyes watching him with recognition gleaming in their yellow depths. One moment he hesitated ; then, gathering uf bottle and glass, he went across the sodden floor and sat dowr at a table where a handsome Arab woman, boldly unveiled' was smoking a cigaret in a jeweled holder. j “Fanina — as beautiful as ever, too,” he .said lightly. “Time (Fifty-four) ILASSIC I imself loves you, Pearl of tKe Orient ! And it has been so 3ng ” “It has been four years.” She leaned tigerishly forward, yes blazing. “What woman has helped those years to pass, alse one? Nay, do not lie! There has been a woman — there /ill always be a woman for thee.” He laughed wryly, watching the bubbles in his glass. “Why peak of the past which is dead? The future alone liveth, and here will nevermore be woman for me” — his voice was launted and his eyes — “unless perhaps a glass of wine now and igain with an old friend like thee, Fanina.” h Her eyes narrowed to slits thru which she surveyed him vatchfully. “Where have you been? They said four years igo that Captain Rand had killed himself ” In spite of his poise, the name stung him like a whiplash. Captain Rand— well,^ why not? No more disguises; that’s .” He spoke as tho to himself. “People’s tongues will of coupe, but. if they stab deep enough, perhaps I’ll the courage to take the man’s way out at last! Cap- Rand by all means !” He filled his glass and held it up in a fantastic toast. “Fanina, drink this with me — Captain Rand, dis- honorably discharged from the Foreign Legion ! The; name reeks like a charnel-house ! A merry resurrection to Captain Arthur Rand !” He had given Ethel Lambert two “Water!” She turned with a start and looked at him with clear, troubled eyes. Then, standing there in his linen garments, with his cork helmet in one hand, Arthur Rand remembered many things — remembered that he was an outcast whose name was anathema among all good people; remembered, under the amazed gaze of a stout, elderly lady, who hurried up to Ethel’s side, that she did not even know his name and that she had great and just occasion to hate him and fear him. He bowed with an echo of his old manner. “I am afraid you have forgotten me. Miss Lambert — Captain Rand,” he smiled, easily. “I met you at the — at the fete the other evening.” He saw a wave of color sweep the lovely face before him and knew that she had remembered him, and that — Allah is merciful ! — she was not angry, did not hate him. In an instant she had taken her cue from him, introduced her aunt and was seconding her invitation to lunch at the hotel. In the next few days Arthur Rand alternated between heaven and hell. To be so near her, to be able to look at her pale, wonderful loveliness and hear the soft speech of his native isle on her lips — it was more than human to give all this up and go away, and so he lingered, and at length, as he had known it must, the die fell. Captain Randolph Beverly, of His Majesty’s Own, returning from an inspection trip, strode into the dining-room and paused at the Lamberts’ table, holding out his hand to Ethel. “My word, this is a bit of luck!” he cried, gaily. “L was days — three at the most — ^to leave the place that had so nar- rowly escaped meaning tragedy to her, to be on the safe side he kept himself hid- iden for a week. Eanina, the Nautch dancer, ' dung to him like a shadow cast by the past, trying ! with all her art to rewin the old careless light love he I had once given her. But with a woman’s quick instinct, she knew that she had failed and guessed why. With the desert 1 woman love and hate are the same passion, as the rose and its thorn are one. Behind the drooping veils of her long lashes Panina’s eyes grew fanged and evil as her voice, honey sweet, t plied him with questions until at last, all unsuspecting, Arthur Rand had told her of Ali Zaman, and Joudar, and the camp of the raiders where he had ruled as chieftain, eastward across the sands. After a week had passed Rand told himself that he need not fear to meet the little white girl any longer. “She has gone,” he thought, “gone back to the green places — the clean green places where I cannot ever follow.” So he went for a walk in the bazaar. And there, in one of the sidewalk shops, he found her bar- gaining with a greasy ruffian for the possession of a beadwork ibag and about to be most ingloriously cheated. Afterward Rand tried to remember whether he had spoken without think- !ing or because he could not help it. At any rate, he cried out !her name very much as a man dying of thirst might cry out I (Fifty-five) afraid I’d miss you ” His words trailed hs his smiling glance fell upon Rand’s white, set countenance. With starting- eyeballs and a mottled, angry red staining his cheeks, he opened his lips, but Arthur Rand forestalled him. He rose quietly in his place and spoke to Ethel as if out of all the world she alone was present. “Miss Lambert, this gentleman here thinks I have no right to be dining at your table. He knew me once, you see, some four years ago, when I was dishonorably discharged”— not a quiver of the white lips over the words — “from the Foreign Legion on a charge of — cheating at cards. He will tell you that I am a scoundrel and a cad to have taken advantage of your divine friendliness in this way, but — he does not know what he would do if he were in hell ! Good-by, Miss Lambert. God keep you ” He was gone, striding erectly among the tables to the door {Continued on page 72) The Extra G By ET seemed particularly chilly and in need of a cup of the steaming tea which his man Friday was dis- pensing; “Big Ben” Taggart anc “Lefty” Flynn lent their laughing approval to the scene; Flora Finch wore her best I-may-do-something funny-any-minute expression, anc no one paid any attention to the fact that Old Man Winter was claiming his own with a vengeance It took just such a combination backed by Zena Keefe’s good natured teasing of Assistant Director Ber Dorris becaus^ he seemed par ticularly at hom< playing father t( ten pretty cho rus-girls, to kee] one assured tha the world is beautiful plac in spite of long trip fron Brooklyn. But, oh, boy, there were three happ; days. For I had been engaged to do “special stunt,” in a striped black-and^ white Pierrette costume, with the te: choristers. I am partial to stripe: (Fifty-six) \ Upper left, Creigh- ton Hale and June Caprice in the pre- lude to a kiss and, in the circle, the con- clusion to the oscu- latory interlude. Draw your own con- clusion. Left, ;Miss Rosemon (in the Napoleonic hat) surrounded by “Oh, Boy” choristers WHAT did it matter that the spring blasts of the balmy belated blizzard threatened to send the huge glass moving picture conservatory of the Solax studio clattering down around our ears? Who cared that every time the door opened a gentle Arctic wind lifted tables and chairs and sent them gaily one-stepping with the Kliegs and Cooper-Hewitts ? Director “Happy Cappy” beamed and proudly asked the extras, “Have you caught me?” which is his French idea of American slang. Sunshine June opened her blue eyes and sent us one of her merry smiles ; Creightpn Hale looked about to see if any one [imost Becomes a Cabaret Entertainer 5EMON because they resemble the vampire which I never hope to be and the zebra which I have often dreamed of being. (These are the reasons which I am giving the press, but among ourselves, girls, stripes that run at right angles to the eyebrows have a tendency to emphasize one’s sylph-like form.) And while I was experimenting in make-up, the other chorus-girls were dancing away, notwithstanding the fact that all the previous evening their eyes and toes had twinkled merrily in an effort to make some few hundred of the t.b.m. class forget their offices and perhaps their wives. - ‘’Oh, gee, I wonder when we eat,” one of the girls exclaimed with the final kick. “Moi-e pep, girls,” Mr. Capellani interrupted. “These are college boys — Johns — come to take you out after the show,” Mr. Vaughn interpreted “Act accordingly.” “H-m, who ever heard of a college boy being a regular John?” one of the girls remarked. “Well, I suppose it goes in pictures, but I must say what they know about Johns wouldn’t take the place of the cream on a creme de cocoa.” On tiptoe they stole to the door to catch a glimpse of the college chaps who aspired to the role of Johns. In the hallway Zena Keefe as Jackie was talking to “Lefty” Flynn, the leader of the boys. Just as the girls were stealthily gaining upon the couple, there was a rush around the corner of the dressing-room and the rest of the boys bore down upon the surprised little dancers and carried them off to the cabaret. It was in this college restaurant — the only one , in town that boasted of a cabaret — that the I main action of the “Oh Boy” story took place. i Judge Carter, that venerable actor, William H. Thompson, with whose daughter, Lou Ellen, Creighton Hale had eloped, had been informed that this particular restaurant was not exactly the best place for the college youth to com- plete his education. But the judge never took anything on hearsay, so when the hilarity was at its height he arrived to test the rumor by personal observation. As he sat at a .corner table sipping a glass of seltzer, Jackie spied him. “Get on to the old guy drinking water,” she re- marked to “Lefty” Flynn. Then an idea struck her. She tiptoed over to the judge, called to a waiter to bring some whiskey and tried to persuade Mr. Thompson to have a regular; drink. He protested, but one swallow convinced him that the young lady knew whereof she spoke. In a (Continued on page 86) Top, a close-up of Miss Caprice ; below, June and her direc- tor, “Happy Cappy” Capellani ; and, left. Miss Caprice Cin- derella-ing for The Classic camera (Fifty-seven) ] i" June Elvidge believes that the back-to- nature movement s h o u 1 d n ’t stop — even in time of peace. So she de- cided to raise an on- ion in the backyard of her suburban es- tate Every night June takes up the onion and waters it carefully. This is incon\cnient for the onion, but an absolutely sure Vv’ay of making it grow Of course yoii observe the studious attitude of Miss Elvidge. Could an onion resist growing under these conditions? The Effect of Jun( Upon a Mere Onion Note the admiration of the maid. June has just informed her that to be absolutely sure about the onion coming out all right, she is planting it already grown (Fifty-eight, DoX/ do this! It makes the cnticlc ragqcd Remove the dead skin gently, safely this way The only thing that pro- tects ^ the sensitive nail root is 1/12 inch of cu- ticle. Don’t cut itl The wrong and the right way to care for your cuticle Learn to keep it smooth and even without ruinous cutting When you use knife or scissors or even a sharp steel nail cleaner on your cuticle, you cut into the living skin. If you look through a magnifying glass, you will see that this is so — that you have made tiny, jagged cuts in the flesh itself. As any specialist can tell you, the skin in its effort to heal these ugly little places, grows up quickly, unevenly, and forms thick, rough, ragged cuticle. How to keep your cuticle smooth, unbroken You can keep your cuticle so thin, smooth and even, that it give.s especial beauty to your hand. To do this, once or twice a week remove over- grown cuticle gently, harmlessly with Cutex: — Wrap a bit of cotton around the end of an orange stick (both come in the Cutex package). Dip it into the Cutex bottle and work the stick around the base of the nail, gently pushing back the dead cuticle. Then rinse your fingers in clear water, pressing back the cuticle when drying your hands. In this way, you keep your cuticle in perfect condition with no breaking or cutting of the skin. Thousands of women have learned that Cutex makes hang-nails and rough, heavy cuticle a thing of the past. With Cutex you can keep your hands well groomed all the time. At any drug or department store you can get Cutex. The Cutex Re- mover comes in 35c and 65c bottles. Cutex Nail White is 35c. Cutex Nail Polish in cake, paste, powder, liquid or stick form is 35c. Cutex Cuticle Comfort is also 35c. A complete trial manicure set for only 21c B C utex Powder Polish can now h c _ secured i n this improved iz'ory-like tube, at the same price Mail the coupon today with 21c, and we will send you the complete Midget Manicure- Set shown below. This will give you at least six perfect manicures. Send for it today! Address Northam Warren, Dept. 906, 114 West 17th Street, New York City. If you live in Canada, address Northam Warren, Dept. go6, eoo Mountain St„ Montreal. MAIL COUPON WITH 21c TODAY NORTHAM WARREN Dept. 906, 114 W. 17th St., N. Y. C. Name Street City State (Fiftfi-nine) Double Exposures ^\'JIY Wf Would Ratiiick Skr Pho- toplays AT Pri- vate Showings Scene: The dark auditorium of a movie palace de luxe. Time : D u r j n g a feature fil-lem. The voices speak in the darkness just be- hind us. First Voice: Say, Kate, a i n t it too bad about Charlie Ray? Second Voice: What’er about him? Divorced his wife, goin’ to marry Theda Bara. Honest ! Why. Theda’s married to Bill Farnum. They're divorced. Say, did’ja see that smash-up them? Ye-ah, faked. Faked ? Sure; Tessie’s friend, Jennie, works as an extra over at the Fox studios, and she says, that all that stuff is faked. Yuh cant believe nothin’ you see, can you? Nope, and that night stuff. All faked, too. You mean it didn’t happen? Ye-ah, happened, but in the day time. They painted in the night. Jennie told Tessie so. Who painted it, Charlie Ray? Nah, use your brain, Kate, the guys in the developin’ place. Gee, some dress that dame’s wearin’ ! You said it. But I dont care. ’Bout the dress? Nah, 'bout Charlie. Pd leave my happy home for him any day. “Here Comes the Bride”: “You have to be a I'eal high-| brow to get this. Barrymore acting either a drunk or a nut;, hard to tell which.” And also this : “Jack Barrymore very! unpopular here, nothing to him.” “Prunella”: “Nothing to it. .S,000 feet wasted.” Motion picture advertising always has its interesting flavor to us. Take the Outing-Chester pictures, which, according, to the advertisement, are intended for: "People who love dogs and skunks and rhinoceroses.” Personally, we draw the line at skunks, and the magazine owner refuses to let us keep our pet rhino tied to our desk. And we note a charming Southern accent to the Vitagraph j advertising these days. For instance, it refers to “Miss J Dulcie From Di.xie,” as being as sweet as “cane sugah.” How Could They Gkt Along? A problem play without a door. The persecuted heroine without a bed. The villain without a cigaret. The vamp without a clinging gown. The ingenue without high heels. The Western meller without a dance-hall. The society drama without the other man. Our idea of doing the impossible is to film the plot of the musical comedy, “Oh, Boy !’’ Our favorite subtitle : The End. The more we read of what exhibitors say about the pic- tures they play, the more we wonder how on earth the photo- play advances a-tall. List to these choice comments from exhibitors, published in The Motion Picture News: “Under the Top”: “Not an animal in it. Business poor.” “The Gypsy Trail”: “Another picture like this will fini.sh Washburn.” ALso observe the warning in this dainty announcement : “This is the model, Mimi had eyes, such eyes — beware ; Form like Venus, man- — take care. Trust her not. Stop, look, listen. She’s not an angel. AS A MAN THINKS.” The Big News of the Month The staggering announcement that Marion Davies roller- ^ skates every day along Riverside Drive. , Speaking of warnings, Olive Thomas says, via her pres:l agent, that the vampire baby stare is a bigger world menaced Hcml Noises, and will do it for you. They arc Tiny >IcgaiihoiK*s. Cannot, he soej) when woni. .Effective when Deafness is caused by (’atarrh or by I’erforaU’d, I’artially or Wholly Destroyed Natural Drums. Ka-^y to jiut in. easy to take out. Are “Unseen Comforts.’’ Inex- pensive. 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MOTION PICTU The Witness for the Defense (Continued from page 42) — so that he could drink himself into beastliness without fear of being seen and reported to the Home Office. No, I do I not remember what we quarreled about this time. It really does not matter, does it? I ran out of his tent into the jungle and waited there for hours ; then when I thought he might be asleep I crept back, and I found” — she shuddered thruout her delicate frame — “I found him — on the floor — with the knife sticking — ” The words died down to a whisper which the eager listeners — the greedy scavengers of society who always flock to a murder trial — leaned forward to catch. Questioning and cross-questioning failed to shake her story, and she was excused, to sit, with bent head and stilly folded hands, seemingly indifferent to wdrat went on about her, or to what was said. A ' native servant was called and thru an in- terpreter he testified that he had heard I “Missie Sahib” say that she would like to , kill her husband. It was the very after- noon before the murder. The Sahib had killed her bird — a little yellow bird she I had brought with her, on her marriage, in a wicker cage. The Sahib was drunk, oh yes, very drunk of a certainty, and when he was drunk he liked to hurt helpless things. Once there had been a child got in his way — But the judge refused to listen to fur- ther loquacity and excused the man, w'ho salaamed and disappeared. A stir went round the room which Stella Ballentyne, sitting absorbed and motionless in an iso- lation of spirit, alone did not seem to feel. She had threatened to kill her husband then — it looked bad, very bad. Then from nowhere apparently a lean English figure rose and made leisurely way to the witness stand. Harry Thresk took the oath and leaning nonchalantly on the rail began to speak in crisp, defi- nite periods. “On the night before Curtis Ballen- tyne and his wife went to the jungle — a week before his death to be exact, I was at his house — ” ' Stella Ballentyne looked up slowly as if his words had roused her from her trance of misery. Her face was swept by a dull creeping red stain ; she bent for- ward, staring. “During the course of my call,” Thresk continued, imperturbably, “Ballentyne gave me a packet and asked me to deliver it to the authorities at Calcutta, saying it was the picture of the famous outlaw Gunga Dak. And as he gave it to me he told me that he felt that his life had been in hourly danger from some one of the outlaw’s friends. His exact words were : ‘TJiere hasn’t been a day since I had it that I haven’t had the sensation of having a knife stuck into me wherever I go.’ He was in actual danger of his life then, and — later — ” There was a moon that night. It drenched the garden of the consulate with a cool glow, like daylight in dreams. It seemed to wash the air free of the hot scents of spices and white dust a| human bodies, clean from old super.";^ tions. old sins. In the pale light Stet Ballentyne's hair was full of odd glirj little sprays of flame. She held out bej hands to meet Harry Thresk s, and he fS them quiver in his fingers. “How call thank you?” she asked, her voice likcl muted string. “It was you who saved rfi I owe you my life, for if I had not freed I should have died.” j “Then,” the man said almost harsh “I am going to ask my reward. Come me, Stella, and let me make it up to y for all these years.” She drew her hands away and turr from him, resting one pointed elbow the balustrade. The spray of roses tl touched her white shoulder trembled tho in a strong breeze. “I cannot co to you,” she said finally in a spent voi “because, you see, it was true — I did 1 Curtis Ballentyne.” Silence. The Southern Cross ab( their heads burned red. The man leai to her. “It makes no difference.” “You cannot understand because y aren’t a woman,’’ Ballentyne’s wid cried out desperately; “you do not kn what a woman has to endure, w' degradations — tortures — refinements shame ! He alwavs made me go to 1 jungle with him and sit close by while became a beast with a beast’s deligl And then my'- bird” — her voice cau: raggedly on a sob — “I brought it fr home, from England — it was all I had the old life, and he killed it deliberat before my eyes and laughed wher, screamed. I said then that I would glad to kill him, but I didn’t mean to. only wanted to get away — once I tr running into the jungle, but he came ai me and hunted me like a wild beast tl the mud and swamps and brought back, so this time I thought I would ^ myself. There was a knife on the ta' but it was so ugly — and I was afraid die. It was as tho a hand was hold mine back ; then he came, and he snee I at me, and tried to take the knife away"] She leaned her cheek on her hand, sli ing into nothingness with wide, mourn eyes. “I struggled to hold it, for suddel seeing his face so close, feeling the to'i of him, I knew that I was not afraid u longer and that if I could get the knili would escape him. He had been drill ing — his foot slipped and he fell, drM ging me down and driving the kniff J Harry Thresk looked down at 8 covetously, at the soft curves of the wl'8 throat, the nape of the neck where 8 hair curled in little gold-colored rings m a baby’s. How beautiful she was how he wanted her! “Stella,” he said iji steadily, “forget everything but the (jj ture, and come to meet it with me. Th fl why I told that story. I knew you ki^ him, while I told it — but I wanted and I must have you !” 1 “So that was why,” Stella said slo^y•^ (Sixty-four) 1 LASSIC might have known. Men dont help a Oman except for pay.” “And do I get my pay ?” Thresk asked. You’ve been honest with me, now I'll be )nest with you. I cant marry you — I’ve )t a wife or two living, and besides I’ve /orn off the marriage habit, it doesn’t it my temperament. But I'll be good to lu, and I've got money, you can have iything you want.” Stella Ballentyne touched the rose ray with absent finger tips. "There is [Other man — ” she said slowly, “there is always another man, from the time land I were tiny children. His name is Ick Hazelwood — but his father was am- :ious for him, and sent him away from 2. He is in politics now, and of course ;ould never marry him — but I’ve always i/ed him and I always shall.” Harry Thresk felt baffled as tho a door id been shut in his face. The set of his w tautened and unnoticed lines sprang 't in his cheeks. “You’re going back to igland?” he asked roughly. “You’re iving India?” !“Yes, oh yes !” she panted, “this ter- l)le, terrible land ! Corruption wreathed ith roses! Smiling sin! And always k temple bells ringing — ringing — ” fEngland. England with the mists over 12 lush green meadows, English larks lling above, English daisies and daffo- 's. England and sheep bells and the ies of the children on village greens. iigland and the kindly English faces and ; voices of her own countrymen like isic in her ears. Stella Ballentyne ved among the well-remembered scenes lidly, as a spirit might that had died ce it had known them, grateful for the ding of the fresh winds and the salt 5ts on her fevered soul. The neighbors who had known her en she was a little girl greeted her jiply, as tho no dreadful years had come ween them, and she knew they could ; have heard of the thing that had re- sed her and sent her home from exile, r grandfather’s house was tenantless d she had it opened, cleaned and made : dy for her. From the old window 'ere she had often knelt in her little Ihood she could look out across the J.’n of the Hazelwood estate with its ;'itury oaks and hedge run wild. The ► brick house was shuttered and for- in. She heard that Dick, nov/ a mem- >■ of the House of Commons and •iken of with hushed breath as a possible Ip me minister, was coming down for a J nth’s rest before the summer was gone. Hore that time, she told herself, she fluid have made some definite plans and ^gone. f '-ach week she assured herself — “Next Ipk I will go.” But still she lingered, king life glide by her like a tranquil Ifer that had left her stranded in this p backwater of peace. And so in the p.rse of time the shutters of the silent tt'ise next door were flung open to the Si, and one golden morning she looked Ol of her window to see a tall, lean Siire in white flannels leaning negligent ( Sixty -/ive) i WANTED— Railway Mail Clerks Men— Women, 18 to 35 $1100 to $2000 Year Common Educa- tion Sufficient o® Sure Pay. Life Job. Pull Uij. necettary. , FRANKLIN INSTITUTE ^ Dept. E77, Rochester, N. Y, Sirs : Send me. wltlioiit charge, sample Uailway Mail Clerk -O Examljiation questions; (2) ^ schodulo sliowinjf places of all IT ' T- coming examinations; (3) list ^ other government .lobs now open and (4) free book describing them American Art We have on exhibition at all times a large collection of paintings by the most famous of American artists, including fine e.Kamplcs of George Inness, R. A. Blakelock, Elliott Daingerfield, H. W. Ranger, J. G. Brown, G. H. Smilic, Arthur Barton, Carleton and Guy Wiggins, Edward Moran, Eugene V. Brewster, etc., etc. Illustrated Catalogue in Colors mailed to any address for five cents in stamps. LA BOHEME 175 Duffield St., Brooklyn, N. Y. liiiiiiiiiitMiniiiiiiiiiiiniiiiiiitiiniiiiMitniiiiiiiiiHiiiiiiiiiunniiiHuiiiiiiMiHiiiiiiiniiiniiiiiiiiiiiiiiiiHiiiiiiiHiniiiiHtiiiiii Imagine the thrill of hearing ^nrSong from the ! That was the experience of one of our writers in Seattle, Washington, a few weeks ago 'I'iic Ihc-atfr was dark. .Suddenly the S|X>Uiglit was turnerl on the stage. A beautiful girl, accompanied by the orchestra, started sing- ing a ballad that .srt the heart-stnng.s of the audience throbbing— full of tenderness and love. At the end of the song came a big ex^rience'**’u\e'\vritei^3aid^''^*’*’ comiielled to repeat the chorus twice before the audience would let her go. In tilting of this "No one can imagine how proud I was as I sat in my seat and heard Mr. Friedman’s beautiful music and my lyric sung by the per- former on the stage. The congratulations of my friends on the way my song was received, were worth more than money can buy.” Why Don’t You Write the Words for a Song? ^ I*" Simple liuiguage as If you were telling it to a good friend. Read over a few words and manner in which they are written— look around for new Ideas and songs. The public lookout for something new. Publishers desire songs of two verses and a cliorus, .so do not make your poem too versertiletw “ than'’";“'hun- The Chester Music Company’s Plan yords sot to music and, we guarantee publisher’s acceptance on a royalty basis. Our gtiaraiilee of 1m ‘a!.cS‘:''T' a ri| s^^ ” -valty^aals upon whiclf^oSr'^Lhg I ..u*" uiiderstaiid that we are not music publishers, and that the CTiester Music Company is in no way connected flnaii- lially with any publmhiug buaness, nor is aw employee of this concern affiliateil with the song publLshing business. The^Cherter I lajj is a clean-etit and conwse plan, that places at your ilispiisal the .sen'ices of a dlstiiiguislied group of musicians in preparing your song for publication Select any subject-dovi^patriotism-home-mtulu r or any . ther .subjeif. that has a tnie human iSwt 'wUl tell you‘'ao“‘m return your '^,'ini " finds your poem contains an iclea Z T song, Ke A Popular Fad of Today 1 . It is a popular fad of today to have your own song with your | R^I/nfTIo Av. rhic.n in name on title page, to present to your friends. If no one has done , MI'-hiBan Ave., Chicago, III. tills In your locality, why not be the first? Others are doing this, J (lintlcnun; Km-losed rni.l pmpany arms on the hawthorn hedge as he puff[ contentedly on a short briarvyood pipe. There was a sprinkle of grey in the m brown curls she remembered, new lit about the mouth and eyes, but she \\ near-sighted to them. Wisdom wh| pered to her to pack her bag and go up 5 London by the morning train, but s made no motion to obey. In the lookii glass she questioned her reflection cage and unsatisfied with its sombreness adc an audacious cherry ribbon at the bi fluffed out the prim bands of honey gi about her temples. She was pale, a_ hesitated over the rouge-pot, but pusH it aside with a sigh. “He has forgotten,’’ she told hersf wdth wildly beating heart, “I am ut Stella Maywood any longer, but Stti Ballentyne — and then, perhaps h heard — ” Sole Makers (3070) But Dick had not forgotten, and he 1 not heard of the dark days that separa them. With his warm, hearty hai clasping hers and his blue eyes ali with the echo of the old look she had need of the rouge-pot. As naturally one who picks up a book that has b' tossed aside they took up the old relat” unconfessed but telltale in every qui ened glance, in half-drawn sighs ; broken words. “Just one more day — I have a righ; one more day!” she begged of her c science when she knelt in the windov^ gaze out over a midnight world, hot ch pressed against the cool pane. “I’ll h all my life to suffer in; just one ir day!” Once, indeed, she tried to speak him of her marriage and its shame misery, but the words faltered on her in dread of seeing the horror that , telling must stamp upon his face, withdrawal of his eyes. And so she y on, clutching desperately at each mon of happiness until the inevitable end,: “Fve always loved you, Stella,” whispered against her hair. “Once WT our parents separate us, and delay happiness, but nothing on earth 0 Heaven shall keep you from me now She quivered to the memory of h touch, the feel of his lips on hers as sat hours later in the darkened drawJi room staring into the pitiless face of future with desolate eyes. So self-isol was she that she did not hear the 1)' steps that strode up the walk, nor the tall, jaunty figure that stood pres< in the door of the room. It was not he spoke her name aloud with a ce: _ sinister meaning in the lengthening n elaboration of the syllables that iih started up with a slight scream touched the light button on the .H Harry Thresk’s handsome, dissji face sprang out of the darkness lik apparition of evil. “Mrs. Ballentyne,” Thresk said evjl “I hope I am not intruding?” | She brushed aside conventions, ri ludes. Her face was suddenly stark .n pinched. “What do you want of she whispered. ( Sixty-six'X 1 CLASSIC j f. He laughed. “What I wanted in ' I lombay — yourself. Oh I know I have j . rival — the landlady at the inn was ii loquacious, but I fancy I have cards that j v'ill beat his.” [ She laid her hands on her breast. "You . vould — tell — him ?” “If you force me to by your obstinacy.” J ie came closer, laid his hand on her ji.leeve. “But after all, why spoil things? i^eave his illusions and come up to Lon- !lon with me tomorrow. The season is ust beginning on the Riviera, there are i nany places — a whole world full where ^ ve may go without recognition and be lappy !” Stella Ballentyne shook his hand from . ‘ler with a gesture of repugnance. Her ! ace held a strange light behind its pallor I “No!” she cried in a ringing voice, "1 hall not go with you, and you shall not ell him. I will tell him my.self— tell h'^erybody. There is no happiness that ‘lan come of dishonesty, I have not drawn In easy breath in months, but tomorrovc I hall be a free woman again before all he world!” “.\nd you imagine that a rising young nember of Parliament will be willing to barrv a self-confessed murderess?” i [aieered Thresk. “My dear girl, when he j mows of vour notoriety he will flee you | IS if you had the plague !” . . I t; “I would not let him marry me if he vanted to.” Stella said slowly, that is )ast and done with. But I shall live the hst of mv life without concealment. \fter all it is better for the body to be in arisen than the spirit . . . .” “Perhaps,” another voice said (luietly, 'you will let me decide for myself what ;.’will do with my future.” They turned, startled to meet Dick lazelwood’s level, tranquil gaze. “Stella,” le said, and there was actually a little i ^augh running thru the words, “I know ^ ill about that affair in Bombay — have | mown it all the time, but it means noth- ng more to me than that — he held up j 'lis hand. Stella, eyes like blue stars, j noved toward her lover. ' “You love me enough to believe me ! vhen I say it was not my fault ■" ■ “I love you so much.” said Dick Plazel- I \'Ood very simply, “that T know that you i ■ould do nothing wrong. ’ j Wrapped in their own joy, they did not lotice when the figure of the other man | lipped like a discomfited shadow out of he room and out of their lives into the larkness where all shadows go. Eugene Pallette is back from Kelly j Sield and is assigned to support Emmy j Yehlen at Metro. He was always a re- | iable actor, and we’re glad to welconie j !he man with the name suggestive of oil- laints rather than grease-paints back to | he silverscreen. i , Rhea Mitchell is leading with Monroe | ‘Salisbury. Vera Stedman is keeping j ihe family name alive at Universal now, j iVlarie MHlcamp is doing terrible stunts | 'n the "steenth instalment of “The Red ; Hove,” and Truman Van Dyke, her ; jleading man, has just annexed a car. || (Sixty seven) I “Here’s Where We Got Our Start” i «M.TeAn OUT HeRE«M MM MMi mmm mmm mm mm riNTERNATIONAL CORRESPONDENCE SCHOOLS “Look, Nell — this coupon! Remember the night you urged me to send it in to Scranton? Then how happy we were when I came home with the news of my first promotion? We owe it all, Nell, my place as Manager, our home, our comforts — to this coupon.” Thousands upon thousands of men now know the joy of happy, i)ros- perous homes because they let the International Correspondence Schools prepare them in their s[)are time for bigger work. You will find them in city, town and country — in office, factory, sho]), store, mine and mill, on farms and on railroads. There are clerks w'no became Advertising Managers, .Salesmen and Executives; carpenters who became Architects and Contract- ors; mechanics who became Engineers and Electrical Experts; men and boys who rose from nothing at all to splen- did responsible ])ositions. d'here are such men as Jesse G. Afin- cent, who advanced from toolmaker’s apprentice to Ahce President of Engi- neering of the Packard Motor Car Company. Such men as H. E. Gard- ner, -who won through I. C. S. spare time study the training that equipped h i m to build the great Equitable Building. These are but examples, ddiey have ])ro\’ed what men wdth am- bition can do. More than a million men and women in the last 26 A'cars have advanced themselves in position and salary through 1. C. S. help. Over 100, OtX) are studying right now. You can join them and get in line for promotion. 'I'he first -Step to success in the I. C. S. way is to choose your career from this list and mark aiul mail thi.s coupon here and now. BOX 6762, SCRANTON, PA. Ejcplaln, without obligating me, how 1 can qualify for the posi- tion, or In the subject, before which 1 mark X, SALESMANSHIP ADVERTISING ^ Window Trimmer Railroad Trainman ILLUSTRATING Cartooning BOOKKEEPER Stenographer and Typist Cert. Public Accountant TRAFFIC MANAGER Railway Accountant Commercial Law GOOD ENGUSH Teacher Common School Subjects Math ematlcs CIVIL SERVICE Railway Mail Clerk AUTOMOnn.E OPERiTlNd into Rcpalriag: NavliratioD ^ ■ AGRIOUr/rUlfE ELEOTRIOAL F.^RI^EER Electric Lighting and Railways Electric Wiring Telegraph Engineer Telephone Work ; UEOIIAMICAL ENGmERR Mechanical Draftsman Machine Shop Practice p Toolmaker ** Gas Engine Operating OlYIh ENBLNEEK t Surveying and Mapping UINE FOREMAN OR ENGINEER STATIONARY ENGINEER as Marine Engineer = Ship Draftsman ARCHITECT Contractor and Builder - ” Architectural Draf^man Concrete Builder Structural Engineer = PLCURING AND HEATIRQ Sheet Metal Worker Textile Overseer or Supt. CHEMIST □ Spankb Freneb □ Italian Name Present Occupation^ Street and No. zl Clty_ 48 Photos of Movie Stars : - produced in half-tone. On card- hoard, suitable for framing. Ar-j luicklc, Bara, Chaplin, Bickfords, .Anita Stewart, Pearl White, etc. Until male and female STARS are all here in CLASSY POSES. By 'Mail postpaid 15 cents. Stamps or tioin. ARDEE PUBLISHING CO. Dept. 150 Stamford, Conn. !• MCLi t. I.l' I lilt.MAN Tht! icsuilt.H t f n.y uroahown ttu my own per- son and Hint ia rocom- nioiiiiation enough. G'T SATISFIED WITH YOUR APPEARANCE? A well developed body will give you 1 strong ]>ersonality and bring you success, ^ly system has made thousands of men and women healthy and strong. W hv not you ? ^l>- h.iiKlsomcl.v illustrated book “Muscu- lar Development” will benefit and interest, .^Au Rn-nHy. Send for a copy New— Today— vthile it ia on your mind. (Enclose 10c to cover pt>stage. eU*.) EARLE E. 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Write today for C4-paRc free hook, ‘"tfow to Study Muaic." M. L. Quinn Conservatory, studio KF, Social Union Bide., Boston, Mass. Submit your SoNo Potns on any subject for our Wc revise poems, compose music of any DCSCRIP- TION. SECURE COPYRIGHT AND EMPLOY 0RIGINAL^.rfn| B ;0NTAIN5 METHODS FOR EACIUTATING FREE P'JBLICA-.-^S INSTRUC- TION OR OUTRIGHT SALE OF S0NGS^^llJj!I^p>'''‘^5 gfjiuNfijs and TCIIS UNDER THIS SUCCtSSFUL^^fTyepi!#^^ [t|[ iRum CONCERNING EVERT BRANDI CONCERNS GUARANTEE^^yCi )F THIS ESSENTIAL AND FASCINATING PROFESS OF SATISFAC-^^ffT ‘J ION. THE GREAT WORK ACCOMPLISHED BY THE POP '■'ON' ^,.-fped right uji dor the screen, making her debut in “One of Our (jirls,” a i'amous Players pro- duction. .\nd tlien, after a while, life fccr Miss Dawn was just one jncture after another. Perha])s you have been wondering whv you have not seen Miss Dawn lately on the screen. W'ell, you will soon, if all goes well. That “if all goes well’’ is en- tirely u]) to .Miss Dawn. She explained it all in her dressing- room the other day at the Kltinge d'hea- ter, where she has the leading j-ole in the farce “Uj) in Mabel’s Room.” “ The s(jrt of work 1 love best of siill is certain phases of picture work. There is nothing that appeals to me so luuch as working in the open, or exte- ii'iors, as they are collocjuially known. 1 love to get up on a brisk, bright morn- !'ng, tram]) miles across the w'oods c)r rlrive way out into the count rv. and there j'tegin while the day is still fre'sh.” j ( Sixty-nine) Xow it is u{) to some enterprising young literary genius to supply Miss Dawn with the right kind of a story. Otherwi.se Miss Dawn wont be able to begin her days exactly right. Who Put the True in Truex? {CoulhiucJ from page 33) do what he has done — but more deliber- ately intellectual . . . without the im])edi- menta of straight comedy — the mustache.- , the shoes, etc. . . . Lie doesn’t want to have limitations, this Truex. Lie wants sco|)e . . . room . . . breathing-space . . . He is tremendously glad, he told me, ! of the new way in Avhich the stage i> coming to be regarded, has come to re- ,gtird itself. i\n actor used to he sort of a freak, he said, stared at everwhere, hardly human. Xow, actors are become businessmen. W'ith methods. With i dignity. W'ith little or none of the, to ; him, offensi\e calcium. hwen wilb ' commercitdism, which doesn’t in tin- le.-ist infringe u])on their artistry -on the contrary-- " 1 his st.'inding ;ibout the clubs,” ; .-^aid Truex ; “drinking . . . gosh ! Or j going about in cafe.^ as .sonu-tlung of j a side show. I dont sci- it. M_\- ])ro- fession is m\' job and I’m going to mrdee gt)od on it — 1 \ e still a long to go and I’m going-- but Dm mcrel) an ordinal-}- human being earning m\ bread and butter, and not anvthing In lose an eve over.” One does not blame him for being ,i Lamily-Man when one regardez-voues jihotos of said family. 'Lhe delectable, retreshing photos ol Mrs. F.rncst — and Phili]> and Jamie. One mentallv ac- credits him with just that much more sound sense. One envies him in a manner of sjieaking. “M}' boys and 1 are jials,” said 'Tmex, with enthusiasm delightful to behold; “I’d rather be with them, do- ! ing things with them, than with any- i one I know. I like to think they feel | the same. They're ])retty mncli the ! whole show with me. When 1 built ' my house at Great iVeck both Mrs. j ''J'ruex and I built it for them, around i their comfort and convenience. We ! all do things together. 'J'alk even-- ’ thing o\'er. We’re an awfully haj)])}' , family. My mother, who was my jial ! thru all my first strivings, lives with us, ' and every one is pleased. There’s noth- I ing like it.” I asked him if he w'ould like to see small Jamie, or Philij), or both, become actors later on. “Why not?” he asked; “with the pu-ofession what it is, and what it will be then, if they love it honestly, if they make goofl on it — w'hy not?” Thus Ernest "Truex. He is obvi- ously awed by what he calls his “good luck.” He is having one S])lendiferous time out of everything ancl everybody. He is quite gorgeously in love with life. I.ife is quite extravagantly in love with him. For the rest — why not? '■ i T>0NCILLA Bcautificr is a constant lit- " light to use. The skin responds imme- diately to the treatment. Blackheads vanish — the complexion becomes rarely) smooth and satiny. ' Corinne Griffith The Precious Gift of a Velvety Skin eminiiiity .... Appeal .... Charm , . speak in tlie smooth texture of your cheeks and hands. The precious gift of a velvety skin can he yours. BOXC 11. LA BKAUTIFIER will give you thi.s — and more. It lifts out the lines and blackheads — closes enlarged i)orvs — and brings that sought for clear, radi- ant complexion. it not only does this for the skin — but it imparts a firmness to tlic llesh tissues of the face that gives, and keeps, that youtiitul look. You look refreshed instead ot weary. You will note the improvement from the first applica- tion, whicli requires no massage. If your