Moving Picture Exhibitors' Association.

Photoplay (Volume 36 – 37 (Jul. - Dec. 1929)) online

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corner of the garden.

There are two gardens, one of them just
wee, with honeysuckle and roses. Three baby
eucah-ptus trees dot the lawn. Behind this is
the big gymnasium, with rowing apparatus,
punch balls, acting bars, pulleys, medicine
balls, skipping ropes, etc. Here Clara exercises
for an hour before dinner nearly e\'ery night —
when she is not working late. The walls are
adorned with college pennants sent to Clara
by ardent college boys.

The other garden is at the side of the house,
surrounded by a tall, pine hedge, which makes
it possible for Clara to take sunbaths here in
complete privacy.

The grand totals for the furniture and equip-
ment of the house amount to 823,306.7,^.
Every item has been selected by Clara herself,
who rexels in this little home. Vou see, when
I first interviewed Clara in the long ago, she
was very new to luxury of any kind. She was
living with her father and brother in a little
frame house, of five rooms, with the minimum
of conveniences. It was the sort of house that
rents, even in Hollywood, for about S.^0 a

The dining table was in the living room,
and papa and brother ate dinner in their
shirt-sleeves, and a cuspidor was a prominent
bit of equipment.

""DUT I really don't earn as much as people
•'-'think I do," reveals Clara. "Vou see, I
have been under contract for a long time. I am
getting only S2,800 a week, not $5,000 as
people think. I do a lot with it, too, because
I have some aunts and uncles back East that
I take care of, and then there's father, — I still
help him. ..." (Father, it will be recalled,
married some time back. He also tried to run
a restaurant with expensively unprofitable
results.) '

Clara has improved vastly since that first
interview. She has become natural, friendly,
easy, less alarmingly self-conscious.

The elocution lessons are not making her
conversation "stagey," for she has that pre-
cious sa\ing gift of humor well de\-eloped now.
She is a very hard-working, ambitious, little
girl, who has met success and its increasing
responsibilities with poise and charm.


do what this does—

they never give

your sl<in this

rosy natural


It does not come from rouge — nor from massaging —
that natural, rose-like coloring of those whose beauty
is a legend. The glow is in their cheeks not on
them — brought there by a simple, never-failing treat-
ment that any girl or woman can use with wonder-
ful success herself — at home.

Tonight — in a half hour or less — while in your tub
or reading — you can prove this. You can endow
yourself with those seemingly impossible complexion
advantages held by the enviable princesses of film-
land and of stageland whose whole career is beauty.

You simply cleanse your skin, as they do, clear to
the depths — with Boncilla clasmic pack. Simply
spread it over the face and neck and let it remain
until it dries. Then wash it oS — and what a
transformation you behold.

Why Boncilla brings
the glow of roses

All traces of old make-up — all imbedded, invisible
grime — all impurities that mar — complexion defects
of every kind yield quickly to the gende but positive

MARY PHILBIN shoun using Boncilla closmic
pack before making up for "Port of Dreams"
Universci's Jewel Production,

correcuve properties of Boncilla clasmic
pack. You actually feel it drawing out the
aruioying blemishes — bringing the Hush of
rosy health to your cheeks — a convincing
tingle to your pores. Then when the sfein
is really ready, you are ready for creams,
powders and other supplementary artifices
— but not before.

No muscle-stretching massage — no similar
looking preparation — does what Boncilla so
positively does, as the beauties, youthful
and mature, of some 50 difierent countries
testify. It is the only clasmic pack — and the
freshness, the vitality, it gives even a long-
neglected skin amazes expert dermatologists
time after time, in cases seemingly hopeless.
With it young girls can emphasize the
beauty of complexions already lovely —
older women can seem to drop ten years.
It is the only facial many professional
beauties dare trust.

Any toiletry counter can supply Boncilla
clasmic pack in tubes, 50c and $1.00; in jars
$3.50. Positively guaranteed to bring correc-
tive results or Boncilla refunds the money.

VNOTE : Miss Philbtn voluntarily tendered'
tht above f>hotogTaf)hic euidfitice that she uses
Boncilla clasmic pac}i. BoncHlahahoratoriis^
Inc., gladlyuJelcomeotheTinteresting testimo-

*S niais but neither offer nor pay mone> /or them.,


Professional treatments M il ^ , t, .,, j j . -i . .

at smart beauty and 11 If ^M Order your Boncilla requisites at drug stores and toilet coun-

barbershois t¥« WW ters. That is the best way. But if you wish totry first. lUst send

everyuhere 11 i 11 My\ ■''■^ coupon and 10c to Boncilla Laboratories, Inc. Indian-

mum Mjm^t apolis Indiana, and an introductory package, a lull weeks

treatments, will be mailed you prepaid.


When you write to advertisers please mention PHOTOPLAT M.iGAZINE.

I lO

Photoplay Magazine — Advertising Section

Racketeers of Hollywood



-take aiong Ahsorhine,Jr.

/"kFF for an outing — miles from
^-^ home — suddenly a fall bringing
painful sprains and bruises — the day
is spoiled! No, it need not be if ycu
use Absorbine, Jr. Rub it on full
strength at once. It will reduce
swelling; draw out inflammation.
Absorbine, antiseptic. When used
full strength it eliminates the danger
of infection in cuts, skin bruises,
wounds and abrasions. For prompt
relief use Absorbine, Jr. on wrenches,
muscular aches, sunburn, insect bites
and burns. Keep a bottle in the car.
It is a reliable first aid — easy to use,
and does not stain the skin.

At All Druggists, $1.25
Send for Free Trial Bottle

W. F. YOUNG, Inc., Springfield, Mass.


balked at that one — actually refused to pay
it and suggested he be sued. He wasn't. A
compromise was made at a much lower figure,
which was still a lot higher than an ordinary
mortal would have been asked to pay for a
similar bit of surgery.

There was an instance where a medico was
forced to turn his patient, a famous director,
over to a specialist. In doing so he ad\-ised
the specialist that he was just a blithering
idiot if he charged less than S5,000 for the
job. The speciaHst, an old-fashioned young
man, submitted a reasonable bill, to the great
annoyance of the first doctor who, no doubt,
felt that such a pinchpenpy scale of rates
might start the movie great to believing you
could really be cut open and renovated without
having to mortgage the old homestead.

Of course, maybe it isn't all the doctors'
and the dentists' fault. There is always this
to be said: if it only cost Gladys Fitzfancy
five dollars to ha\'e her tooth pulled she would
probably have felt rr\uch worse than if she
had left it where it was. Only five dollars for
the job! Why, you couldn't even pull a tooth
for that, let alone do it correctly. And there
are plenty of people in pictures who, if they
were billed a mere five hundred dollars for an
appendix operation, would worry themselves
to death for fear the doctor had left his
scalpel in the incision.

npHE advertising racket. There's a good
■'■ one — well-organized, conducted by experts
and highly remunerative.

There are a number of trade publications —
some powerful and influential, some insignifi-
cant little sheets — that either exist or pay
extra dividends on the advertising of stars
and lesser players or anyone receiving regular
salary checks. It goes lilce this:

The magazine cooks up a "special number. "
Perhaps it's in honor of Mike Zemansky, the
biggest exhibitor in South Dakota — he owns
all the theaters. It's Mike's twentieth anni-
versary out of the glove business.

A fine fellow, ]\Iike, a power in the industry.
He deser\-es recognition, a monument to his
achie\-ements. Out go the wily salesmen after
the stars. They request a page of personal
advertising for this great tribute to Mike.
The impression they create is this: Mike's
a funny guy, a proud old fellow who takes
care of his friends.

He's certainly going to be interested in
knowing who remembers him and who doesn't.
The only way to pay him tribute is to buy a
page in this special number. Won't he be
ticlcled to see your picture on a full page with
something nice under it like, "Good luck,
Mike?" You bet he will. He'll call his ad-
vertising man and say, "Pete, look at the nice
thought this fellow has for me. The next
time one of his pictures comes to town give
him a break — a big break."

You aren't interested? Now listen — if Mike
doesn't see your name in this issue he's just
as likely as not to bar your pictures from
South Dakota. You've got to play ball with
these fellows. It's good business.

You stiU aren't interested? Wait a minute.
We've always played ball with you. We ran
pictures of you in (pause while card is con-
sulted) twenty-two of our issues last year.
We've always shot square with you.

You don't want to? All right, just wait
until we re\dew your next picture. Just wait
and see what kind of a break you get.

It's a lot of canal water, of course. ISIike
probably never as much as glances at the
pages of paid advertising. But it works — you
ha\'e no idea how well it works. Thousands
and thousands of dollars are spent by_ film
stars every year on this sort of advertising.
It's a racket, but they are afraid to offend.

It's cheaper to buy a page in Mike's special
number, even if it hasn't a dime's worth of
advertising value.

A NEW beach club is being organized. The
•'*■ promoters want some prominent names to
head the membership list. They call on Regi-
nald Merryweather, a star of the first water.
They would be honored to bestow upon him
an honorary membership at absolutely no cost
or expense to himself. That sounds reasonable
to Reginald, so he accepts. Six months later
the club goes broke, with a huge deficit. Is
Honorary Member Merryweather stuck for
his share of the debts? The answer is "yes,"

Would the feminine social leaders of the
metropolis lend themselves to a racket? How
about this one?

They call them showers — same old variety —
everybody comes and brings a present.
They've spread over Hollywood like Texas
fever spread over the cows. They are held
for birthdays, betrothals, brides and babies.
Imogene is being married. Gertrude says,
"I'll hold a shower for you. What do you
need most, dearie?" "I could use a complete
set of table crystal, " says Imogene. Gertrude
phones out the invitations with specific in-
structions. "It's a crystal shower," she says.
"We've picked out a set of crystal down at
Blink's that we think she'll like and we've
decided it would be a good idea for everyone
to get pieces of the same set." She neglects
to state that "we" doesn't mean Lindbergh
and The Spirit of St. Louis. It means Imogene
and Gertrude.

But they fall for it — honest they do. They
trot right down to Blink's and buy that set of
crystal for Imogene, who has money enough
to buy herself ten dozen sets of crystal, and
hea\'en help the one who arrives last and has
to go for the service plates — the oijy thing
left. And the next week somebody else gives
another shower for Imogene and the same
set of guests is invited and has to run down
and buy something else for the blushing bride.

CH.\RITY— ah, sweet charity. That's a
racket that leaves a bad taste in the
mouth. The district attorney's office thought
so, too, and is still chasing a couple of bright
lads who were getting rich on charity. They
would go to some worthy organization and
offer to stage a benefit in its behalf. They
would either guarantee a definite sum or
work on a percentage. The deal closed, they
would leap on their bicycles and pedal furiously
for the hunting ground of Hollywood.

The average actor, if he has money in his
pocket, is a soft-hearted cuss. He is sincerely
moved by a plea for starving children, poor
devils fighting tuberculosis, suffering of any
sort. He contributes gladly and sometimes
quite generously. It's a pity that these sharp-
shooters retain perhaps eighty per cent for
themselves and turn over twenty per cent
to the charity. Unfortunately, as soon as
one phony dodge is e\-posed, some smart
fellow comes along with another.

That Coty perfume racket was a slick one.
Just before Christmas a suave young man
invaded the studios and contacted the men —
stars and executives. He had smuggled in a
lot of fine French perfume from Mexico. He
was offering it at a third the usual price —
great Christmas gift for the ladies. What
kind was it? Coty — you know about Coty.
He showed them the bottles, Coty bottles
with the familiar Coty label. He let them
smell. Some of them recognized the fragrance.
They bought a lot of it — the young man
literally disposed of gallons, at a third of the
regular price. When the girls opened their
Christmas presents there was no great rejoic-
ing. Some of them inspected the bottles care-

Every advertisement in PHOTOPLAY JIAGAZINB is guaranteed.

Photoplay Magazine— Advertising Section

fully. Coty? Thelabelsdidn'tsay Coty. They
said Cody. The contents didn't smell like
Coty, but more like a careless mi.Nturc of bay
rum. rubbinfi alcohol and essence of jockey
club. Well, you couldn't have the boy arrested
for that. Maybe he did say Cody. .\nd
nobody had bothered to inspect the labels
very closely.

There are dozens of rackets tor gaining
entree to studios and stars in order to sell
them dozens of articles they don't want and
couldn't possibly use. There is the acting
school racket — very profitable — that awards
the student a diploma which won't even gain
its holder a hearing on ]'overty Row. Talking
pictures ha\e precipitated a deluge of \'ocal
teachers, voice coaches and instructors in
every dialect from Siamese to Milt Gross.

I don't suppose all, or even many, of these
rackets are native to Hollywood. It's only
that the town has a stupendous number of
loafers to work them and a positively colossal
number of suckers to fall for them.

"pOR the benefit of glib-tongued and fleet-
■'- footed young men who might be interested in
turning a dishonest dollar. I offer the one that
was worked on me as recently as yesterday

I was not at home — naturally wouldn't be
in the afternoon. A messenger boy — just a
racketeer, or maybe an apprentice racketeer,
in disguise — rang the doorbell. He carried a
neatly wrapped package. The maid answered.

"Package for Mr. Rogers," said this fiend
in human form. "Two dollars and sixty cents

It seemed unusual, but it sounded plausible.
The trusting girl shook four quarters and
si.xteen dimes from the babj-'s bank and paid
the wretch.

"What's in the package?" my wife asked
when I came home.

"Package?" quoth I.

She handed it to me. My correct name and
address was on the label.

"That's funny," I said — and opened it.
I won't keep you in suspense. For S2.60 I
had purchased, from party or parties unknown,
an empty beer bottle and a badly worn and
entirely worthless gentleman's shoe.

One guess is as good as another.
The triple-faced gent with his
chin on a cloud is really Alan
Birmingham, male lead of "Mas-
querade." Mr. Birmingham is
pretending to be the moon and
fooling no one. Now see here,
Birmingham, we were always
brought up to believe there was
only one man in the moon. You
can't go trying to blast our illu-
sions like that

f^ i^tf^k^i^'


1 1 1

f -v ^

MODERN IZING MOTHER . . . Epimh Niimhtr Siren

Speed! Life is all ;i-:ingle at twen-
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fun ahead for thought of fear — too
many prizes to be won to be sat-
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older people really object — are
they not just as eager in spirit
to escape drabness and drudgery
and feel again the thrill of being

Youth knows but one standard
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It is softer, conforming and
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This filler is not in layers with
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The sides of Modess are smooth-
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Modess is deodorizing. Labo-
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Modess is made in one size only
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Tvf Modess. We are positive its
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It costs no more than you usu-
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When you write to .tdvertisers please mention niOTOPI.-VT MAGAZINE.

I 12

Photoplay Magazine — Advertising Section

(jotix botrt lA
la tmA contaijijcx

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Dust it over your body like talc. Rub
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Use all you want — Deodo is soothing
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' Dept. 9S. Springfield* Mass.

The Siren From Montana


contract with Warner Brothers. That was
three years ago and I have been there ever

One of her first screen roles \vas in the John
Barrymore romance, " Don Juan." She played
a lady in waiting to Estelle Taylor, the Liicrezia
Borgia, arch-mistress of intrigue. After that
picture came a succession of heavies, never a
leading lady role until "State Street Sadie,"
and IMjTna thought she was very bad in that.

It is an unending puzzle to her why Warner
Brothers kept her under contract. Apparently
they didn't know what to do with her. She's
not quite sure that they know at the present

T_TER first real success came with "The
•'■ -'■Desert Song." She played Aziiri. the
llaming, vengeful nali\-e girl of the Sigmund
Romberg operetta. Azuri was a dancer, and
the old training was valuable to Myrna.

"It required a great deal of persuasion for
me to get the role. They were afraid to give
me my chance. The role of Azuri was difficult
and dramatic. I lacked experience and I would
be a member of a cast which knew all the tricks
of the stage.

"I kept right on insisting and at last, with
many misgi\ings, they told me I could ha\e the
role. I felt that they had given it to me against
their better judgment, and that now I had to
show them. It wasn't easy to work with that

" 'The Desert Song' was made before the
studios employed voice teachers. I had no
training and ne\er before had I spoken from
the screen. I worked out Aziiri's dialect from
my own slight knowledge of French."

Azuri was ^lyrna's stepping stone. It was
what she had been striving for. Immediately
after that she was cast as Ntibi, the gypsy
charmer in "The Squall." It was not a par-
ticularly good picture and it was not a very
good stage play, albeit its success. But Nuhi
was the central figure — an evil spirit incarnate.
.\gain she won critical approbation.

She was borrowed by Fox for the role of the
goddess-like Yasiiiiiii in "The Black Watch.''
Her character had the semblance of an East-
Indian Joan of Arc. Now she is cast as a
Mexican girl in "The Texas Moon," to be
filmed in Technicolor by Warners.

"Talking pictures have meant much to my
career. I could never have been a leading lady
in silent pictures. I am not the t>T)e the
audiences had come to expect. I was doomed
to heavies. Talking pictures Avill create a
broader outlook. A leading lady wUl no longer
have to be Simon-pure. Take ' 'The Letter,' for
instance. Jeanne Eagels wasn't a good woman;
neither was she bad. She was a victim of cir-

Every interviewer asks every inter\"iewee
about affairs of the heart, ^\'hen other con-
versation lags the subject is introduced.
Myrna isn't telling a thing.

"If there were a romance I wouldn't discuss
it. I can't understand how people can talk
about love, and reveal their lo\es to the world.
How could they ha\e really loved?"

CO you'll just have to watch the papers on
'-'this point. Howe\er, for those who do not
live in Hollywood, ilyrna is seen ver)' fre-
quently with one Barry- Norton.

Myrna doesn't make whoopee in the Holly-
wood meaning of the term. She smiles when
she says perhaps she makes whoopee in her own
way. She doesn't like to go to parties becaufe
bad gin has after effects. She rides and swims
and goes often to the theater.

When she isn't working she models statues,
but she is working most of the time. She is
supposed to ha\e a fortnight's vacation at the
close of every six months. It isn't always
possible to take the holiday. She has ne\er
been farther East than Montana. If she can
find time she would like a glimpse of New York.

She lives with her mother and younger
brother. Myrna thinks he is a \ery unusual
boy. He graduated from high school this year
and wants to write poetry.

Father Knows Best


Then Johnny's mother got to her feet with
angry, red spots burning in her cheeks, and
with fury blazing in her eyes.

"You men! You make me sick ! I'd like to
know what right you've got to stand there and
say what's going to be done about my child!
Yes. . . my child. .\ lot you did about
Marion's coming into the world! \'our son!
He's mine. I suffered for him and you're not
going to cheat me out of what I've dreamed for
him . . . you're not!"

SHE was sobbing now, hysterically. She had
gotten very white. Johnny's father said

",\U right. I won't stand in your way, but
don't expect me to help you. You know how
much pull an electrician's got in a studio hke
Superior Films! I couldn't even get you in the
front gate!"

"You don't have to! I'll never ask you to
help me. I know better! .\11 I ha\-e to do is
show these ..." she bent suiftly to a drawer
in her dressing table and brought out a sheaf of
photographs, which she held out to him.
"Here . . . these are all Marion needs to get
him in! He's already signed up for work at
Universal and at Paramount, and today I've
an appointment with Morris Keppel. I guess
\-.iu know who he is! Casting Director at


she finished

Superior Films, that';

For answer Johnny's father said only:

"How'd you get these pictures.-' I know
what things like this cost."

"Just like you to stand there arguing over
the cost, and not caring enough to even look at
them!" she burst out bitterly, and flung herself,

Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 64 of 145)