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One of the >wer Magazines
/hat changes will Happen
to the
MOVIES in 1933?
e Year's Forecast!
When lad a Crush
on
JOHN ARRYMORE
jy ELSIE JANIS
•
he Five Most )ANGEROUS WOMEN
in
lollywood
JIM TULLY Reveals the REAL COLLEEN MOORE
Who Fought Both Poverty and Riches
TOGETHER-FOR THE FIRST TIME ON THE SCREEN'
ETHEL
II
H4IJ
The Royal Family of the American Show World
You hear it every where... whispers from the West gather like a storm... underground reports travel across the breadth of America... ONE OF THE GREATEST PICTURES OF ALL TIME IS COMING! The vast resources of M-G-M, the money, the talent, the genius of the most celebrated producing company on earth are focused on the creation of a mighty entertainment.
RAfrVTIM
with RALPH MORGAN • DIANA WYNWARD
Madman, saint or devil?
Was he one or all
of these?
Directed by Richard Boleslavsky • Screen Play by Charles MacArthur
A METRO-GOLDWYN- MAYER TRIUMPH/
fip 01 PUBLISH
15
WHAT
* FOOL
SHE IS!
**$&
t FW
s
s
■^^r^r Hours Peiut
givitis, Vincent's disease, and food that gives them so little natu-
pyorrhea— but to dingy, grayish ral work. Each time you clean your
Those hours of "primping" teeth— so that some day you may teeth with Ipana, rub a little more haven't been wasted ! But if the think twice before you smile! Ipana directly on your gums, mas- young lady would look as closely _ , saging gently with your finger or at her teeth as other people do — r * the tooth brush, she'd take better care both of her defeat pink tooth brush Start it tomorrow morning. Buy teeth and her gums. Keep your gums firm and healthy a full-size tube. Follow the Ipana "Pink" upon your tooth brush — and your teeth clean and bright method regularly and your teeth indicates that your gums are too with Ipana and massage. will shine brighter, your gums tender — that they bleed easily. Restore to your gums the stimu- will be firmer than they've been This condition may lead not only lation they need, and of which since you were a child. "Pink to serious gum troubles such as gin- they are robbed by the soft, modern tooth brush " will depart.
IP^ m Ht H A. ' jg gM^ A ff\ BRISTOL-MYERS CO., Dept. Y-13
'j §\ |V I t\ .^,^*>*f???*^^^^r .^tm, **Ml 73 West Street, New York, N.Y.
W& Mk\ 1^1 MA <mii.'*m**~~~~~''~~~ tyn .. ^M P* ■ Kindly send me a trial tube of IPANA TOOTH
E ffl^^k IS ^B ^^wi itSt^ ^"~" ^^^ \^^^^ 1 R§ PASTE. Enclosed is a two-cent stamp to cover partly
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. ^'^ , >Z . /JBppppiR Name
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A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury
The New Movie Magazine, January, 1933 3
HAIL 1933 The New Movie Magazine sweeps on. The famous writers who have telped to give New Movie the largest circulation of any film maga- zine in the world extend their best wishes for the New Year. The Aevt Movie invites you to share in the feast of enticing articles and exclusive pictures which will continue to make it the most sought-after and most authoritative magazine of the picture world.
JIM TULLY
ANITA LOOS
EDWIN C. HILL
HERB HOWE GEORGE JEAN NATHAN FANNIE HURST THEODORE DREISER
WILL HAYS
WILL IRWIN ADELA ROGERS ST. JOHNS WALLACE IRWIN
FREDERICK L. COLLINS
ELSIE JANIS
The New Movie
THE NATIONAL DIGEST OF THE BEST TALKING PICTURES One of the TOWER MAGAZINES
HUGH WEIR, Editorial Director VERNE PORTER, Executive Editor
VOL. VII. No. 1
Cover Design by
McClelland Barclay features
JANUARY, 1933
What Will Happen to the Movies in 1933 Ramon Romero 20
The Success Blues Slim Summerville 27
The Real Colleen Moore Jim Tully 28
The Story of an Aladdin's Dream Edwin C. Hill 32
When I Had a Crush on John Barrymore Elsie Janis 34
The Five Most Dangerous Women in Hollywood . .Virginia Lane 36
These New Yorkers Herb Howe 38
Meet the Vampire Barbara Barry 40
Togo in Hollywood Wallace Irwin 44
Broadway vs. Main Street Will Irwin 46
Hollywood Cook-Coos.
Ted Cook 49
Frightened Lady Hester Robison 63
DEPARTMENTS
Hollywood Bandwagon 6
Radio Rambles 50
Music of the Sound Screen , 52
New Pictures You Should See, and Why 54
Hat Tips 60
Furs in the Spotlight 61
Jackie Cooper's Holiday Party 66
Play Time Grace Kingsley 64
You Can Change Your Personality 62
Card Party Prizes, 67; The Entrance Is Important, 76; Box Office Critics, 78; Make-Up Box, 82
Largest Circulation of Any Screen Magazine in the World
On Sale the 10th of Each Month in Woolworth Stores
Published Monthly by
TOWER MAGAZINES, Inc.
Washington and South Aves.,
Dunellen, N. J.
Executive and Editorial Offices :
55 Fifth Avenue, New York, N. Y.
Home Office : 22 No. Franklin St., Wilkes-Barre, Pa.
Copyright, 1933 (Beg. U. S'. Pat. Off. ). by Tower Magazines, Inc., in the United States and Canada. Subscription price in the U. S. A., $1.20 a year, 10c a copy; in Canada, $1.80 a year, including duty, 15c a copy; in foreign countries $'2.00 a year, 20c a copy. Entered at the Post Office at Dunellen. N. J., as second- class matter under the Act of March 3, 1879. Printed in U. S. A. Nothing that appears in THE NEW MOVIE MAGAZINE may be re- printed, either wholly or in part, without per- mission. Tower Magazines, Inc., assumes no responsibility for return of unsolicited manu- scripts, and they will not be returned unless accompanied by stamped, self-addressed enve- lopes. Owners submitting unsolicited manu- scripts assume all risk of their loss or damage.
OFFICERS
Catherine McNelis, President Theodore Alexander, Treasurer Marie L. Featherstone, Secretary
ADVERTISING OFFICES 55 Fifth Avenue, New York, N. Y. 919 No. Michigan Ave., Chicago, 111. 7046 Hollywood Blvd., Hollywood, Cal.
Members of the Audit Bureau of Circulation
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The New Movie Magazine ^January, 1933
Hollywood Bandwagon
The latest news and gossip of your film favorites on and off the set
Ethel Barrymore went to a dinner party at the Am- bassador. The gentleman on her left had been a total stranger until he was introduced that evening. Never- theless and nothing daunted, he felt friendly. Before the soup course, he was calling her Ethel. For ten minutes, he Etheled her all over the place. Finally she turned and let him have a full blast of those protruding paralyzing eyes.
"Why be so gosh darn formal?" she inquired. "Just call me kid."
A bushel of oats mailed to Hollyivood by a Mid-West fan simply addressed "Tarzan" found its way to John- nie Weissmidler. After satisfying himself that the package did not contain a hidden bomb, Johnnie finally figured out that the gift was really meant for "Tar- zan— the Wonder Horse" who co-stars ivith Ken May- nard in Western epics.
CLARA BOW to become a mother! But don't get excited — it's only part of her role in "Call Her Savage" in which the erstwhile madcap has a baby — for the first time in her long screen career. And those in the know say that Clara really plans to have a real baby after she becomes firmly re-established with a picture or two to show that she is still very much in the running.
Ed Maxwell, the noted meanie of the screen, was re- turning home from the studio recently when a news- boy jumped on the running board of his car.
"I don't want a paper," said Maxwell.
"I don't want to sell you one," said the boy, whipping out an autograph book, "Please sign this book, Mr. {Please turn to page 8)
You'll see Wally Beery in this outfit when you see the
picture, "Flesh." That's the former champion wrestler,
Wladek Zbyszlco, with Wally.
June Vlasek, lovely new Fox player, is being trained for some fine feature roles.
The New Movie Magazine, January, 1933
A DRAMA OF HUMAN LOVE
Phillip Barry's sensational stage play that was the outstanding hit on Broadway last season now comes to the screen.
/ith
ANN HARDING
It was in Mr. Barry's "Holiday" that Ann Harding scored her first great screen success. Now, the same dramatist gives her a play of unmatched power.
and
**"!'
\rv
•"fae
»oCe
ond;"cvco^G
h
LESLIE HOWARD
One of the great actors of our day, with an un- broken record of resounding rite on stage and screen. His pictures: "Devotion". . ."Outward Bound". . ."Five and Ten"... "A Free Soul . NEIL HAMILTON • MYRNA LOY • ILKA CHASE
AN RKO RADIO PICTURE
— of Course/ Directed by Edward H. Griffith
RKO-RADIO PICTURES, RKO BUILDING RADIO CITY - - - NEW YORK
The New Movie Magazine, January, 1933
THE HOLLYWOOD BANDWAGON OF INTIMATE CHATTY GOSSIP ROLLS ON
Photo by Wide World
Maxwell. I saw you in 'Scarface' and you were keen!"
HERE AND THERE: Irene Dunne will be co-starred with Richard Dix in "The Ace." The show is to go into production soon. Clara Bow and Estelle Taylor have several scenes in "Call Her Savage" that take rank among the most dramatic of the year. Do you realize that Boris Karloff is one of the three or four big stars in the film world today? Roscoe ("Fatty") Arbuckle seems to be back to stay. "Fatty" never really did de- serve the bad break he got. He was what the wise-boys call "the fall guy."
THESE SERIALS: By the way, some of the serials being made this year are more fun than most fea-
tures. "The Last Frontier" and "The Last of the Mohicans" are certainly crackei-jack entertainment, if any one asks you, and you needn't be ashamed to admit it.
Do you recognize the girl on the left? It's the new Clara Bow. And that's hubby, Rex Bell, and Marion de Au- burn lunching with her.
They've been working George Raft
pretty hard iately, but he sneaks
away now and then to watch a
tennis tournament.
The happy, smiling Guy Kibbee. He's probably chuckling over another scene that he has just "stolen."
Warner Baxter lifts his hat in greet- ing, as the cameraman snapped this informal picture.
The New Movie Magazine, January, 1933
A picture which will proudly
lead all the entertainments
the world has ever seen
CECIL B. DE MULE'S
Superb Road-Show Dramatic Spectacle
THE
SIGN
OF THE
CROSS
CL Qaramount Qicturc J
FREDRIC MARCH
ELISSALANDI
CLAUDETTE COLBERT
CHARLES LAUGHTON
and 7500 others
From the play by Wilson Barrett
The New Movie Magazine, January, 1933
11
The Bandwagon rolls on. Join the curious
and learn how the stars work and play
Paul Lukas, with a fatherly arm around young Tom Brown, gives him a few pointers on facing the camera.
BERT WHEELER and Bob Woolsey have formed a corporation called the Bobert Corporation. This to pro- tect them from murdering each other or leaving each other flat. One can- not murder a corporation — and the corporation laws are such that they are absolutely helpless without the other. Neither can work without the other again so long as they both shall live — says the corporation laws — and that's that. This is the first time in the his- tory of entertainment that a team has protected itself from the prevalent form of teamitis temperamentum — and it should work!
SOME WAY OUT? There's going to be a lot of discussion about the end of "I Am a Fugitive from a Chain Gang." To start with, it is so terribly dramatic that it seems to lose its chances of being possible. . . . Any- way . . . for a man who had such general interest taken in his case, there should have been some way out of the country. Nor can they extradite from New Jersey, it seems to me. How- ever, taking it as you see it, it is still one of the most dramatic bits of the year and Paul Muni deserves a big hand. He has come a long, long way since "Four Walls," his first show in English, which he did some years back for George Abbott.
ASK US: Why doesn't someone put jT\. Clark & McCullough in a feature picture? They have never made a bad comedy and Bobby Clark is almost as
good as Jimmy Durante at making the most of a situation.
BUT WHEN? When are they going to star Clark Gable ? If anyone de- serves a chance to shine in his own show, Mr. Gable does and yet his career seems to be one co-star after another. At that, he shouldn't mind so much.
Jimmy Durante ought to be worth seeing in "Pig Boats." With- out knowing anything about it, there ought to be lots of fun in see- ing Jimmy loose in a submarine.
WATCH FOR HER: Don't miss Helen Hayes in "A Farewell to Arms." There are people in New York who saw it who still have lumps in their throats.
Mr. and Mrs. Zeppo Marx, after a luncheon at The Brown Derby. That's King Vidor, director, in the dark coat.
Clark Gable (below) takes a little rest
between scenes for "Red Dust" while
a technician removes a nail from the
sole of his boot.
Theda Bara, early siren of the movies, and Jeanette MacDonald at the Assistance League. Notice Jeanette's monogrammed belt buckle.
12
The New Movie Magazine, January, 1933
New List of BEST SELLERS AMAZES Reading World!
We are printing these NEW books by the millions and can hardly keep up with our flood of orders. All past book-selling records are being broken.
We have sold 200,000,000 books in 12 years — over 400 freight carloads— but judging by the way in which these NEW titles are being grabbed up, we expect to reach the BILLION MARK BEFORE VERY LONG! Go over this NEW LIST at once-don't delay a moment— and then check off the titles you want to read.
HERE ARE THE BOOKS THAT ARE BREAKING SALES RECORDS:
SELF-IMPROVEMENT
7 How to Get a Liberal Education by Yourself 78 Hints on Public Speaking 112 Secrets of Self Development 364 How to Argue Logically 1143 How to Prepare Manuscripts 1174 How to Write Business Letters 1204 Dictionary of Musical Terms 1340 How to Get a Job 1351 How to Get Ahead
1364 How to Use Dictionary
1365 Vocabulary Building
1366 How to Write Blue Books
1367 Prepositions and How to Use Them
1395 Personal Magnetism
1431 How to Read Proof
1432 How to Hyphen and Divide Words
1433 Fascinating Pastimes with Words
1444 Making Words Work For You 1473 How to Find What You Want In
a Library
1503 How to Use Effective English In Speech and Writing
1504 How to Overcome Self- Consciousness
1555 Rules for Success in Business 1726 How to Think Creatively
LOVE AND PASSION
106 Frenchwoman's Views of Life
196 The Marquis1 Secret Passion
197 What Frenchwomen Learned About Love
649 Defense of Cosmetics 675 Love Code of Paris Actress 1270 Visits Among Mormons 1380 Flesh and the Devil 1382 Is Civilization Over-Sexed? 1392 Confessions of Gold Digger 1428 Curious Love Affairs 1438 How to Be Modern Mother
1445 Wild Women of Broadway
1446 Texas Gulnan, Ace of Night Clubs 1461 Reno Lawyer Looks at Marriage
and Divorce 1566 How to Conduct Love Affair 1582 Liberal View of Divorce
SEX
203 Love Rights of Women
648 Sexual Rejuvenation
1043 Study of Woman. Balzac
1258 Why I Believe In Companionate
Marriage
1371 Sins of Good People
1420 Why Wives Leave Home
1421 How to Get a Divorce 1436 Strange Marriage Customs
1476 Facts About Your Sensations
1477 How Glands Affect Personality 1484 Why Preachers Go Wrong 1497 Companionate Divorce
1507 Rational View of Sex 1538 Rational Sex Code
1608 The Art of Love
1638 Cases of Sex Suppression 1709 White Slave Traffic 1713 Sexual Impotence — Its Causes and Treatment
BEST FICTION
215 Miraculous Revenge. Bernard
Shaw 223 Wife of a King 375 Love Story of An Old Maid 1017 Without Benefit of Clergy.
Kipling
1457 Sketches of Naughty Ladles
1458 Princess and Tiger
1605 Girl in Snappy Roadster
1609 How Roast Goose Vender Was Paid. Rabelais
1610 One Lover Among Many 1624 Woman Who Inspired Fatal
Passion
1627 A Piece of the Princess
1628 Merry Tales of Childhood
1642 Maidens and Women. Heine
1643 Under the Hill
1647 Abbe Aubain Falls in Love. Merimee
1669 Jolly Beggars. Burns
1670 Death's Old Comedy j 1684 To Please His Wife. Hardy
BEST LITE It AT I It E
79 Enoch Arden 146 Snowbound 148 Strength of the Strong.
Jack London 152 Son of the Wolf. Jack London 229 Ridiculous Women. Moliere 237 French Poems in Prose 285 Unconventional Amour. Moore 554 Child's Garden of Verses 766 Gallant Casslan: Puppets of Love 799 Deserted Village
1569 Boccaccio — Lover of Love 1587 Amazing Loves of King Carol
HEALTH
1242 Care of the Skin and Hair
1321 Fasting for Health
1333 Common Sense of Health
1389 Tobacco Habit
1393 Fake Way to Health
14?6 Foot Troubles Corrected
1435 Constipation, Its Correction
1443 Dally Exercises for Busy People
1478 Poor Posture Corrected by Exercise
1479 Correction of Underweight and Overweight
1534 How to Test Urine at Home
1553 Beneficial Exercises for Nervous- ness and Indigestion
1554 Beneficial Heart Exercises
1556 How Sun's Rays Will Give You Health and Beauty
1562 How to Live Long
1563 The Marvels and Oddities of Sunlight
SOCIAL PROBLEMS
139 Crimes Against Criminals. Inger- soll
374 Psychology of Suicide
789 U. S. Marriage and Divorce Laws
880 What I Saw in Russia 1256 Darrow-Wheeler Dry Law Debate 1387 Racial Intermarriage 1425 Open Shop. Clarence Darrow
1447 CanPeopleBeMadeGoodByLaw?
1467 Party Issues in the U. S.
1468 How to Deal With Crime
1469 U. S. Industrial History
1483 Trial By Jury. The Great Burlesque 1506 How Capitalism Developed 1512 Is This Century the Most Admir- able in History?
1525 Menace of Modern Prison
1526 Peace Plans from Kant to Kellogg
1527 Hoover: The Man
1543 Is War Inevitable?
1544 Why I Do Not Believe in Capital Punishment
1547 How Can We Wipe Out the Crime of War?
1549 Why I Do Not Believe in Censor- ship
1557 What Is A Liberal? 1560 Why I Quit Prohibition
1572 How America Was Forced Into World War
1573 Hoover's Record in White House
1577 Can Americans Be Made Good By Law ?
1578 Was Pres. Harding Murdered?
1579 How Newspapers Deceive
1580 Serious Lesson In Pres. Hard- ing's Case
1588 Debunking the Coolidge Myth
1594 Does Death Penalty Curb Crime? 1602 Principles of International Law 1639 Story of British Imperialism 1682 Story of American Imperialism
1687 First Principles of Banking
1711 Economics of Taxation
1712 Great Dates in History
1723 Amazing Career of AI Capone
1724 Next World War: How It Is Being Prepared
1725 Story of Tammany Hall
SPOBT
1186 Golf Rules
1277 Hindu Magic Self Taught
1278 Ventriloquism Self Taught
1279 Sideshow Tricks Explained 1285 Gamblers' Crooked Tricks 1369 How to be a Gate Crasher
1535 How to Throw a Party 1592 History of Gambling
1688 100 Cocktails
PBACTICAL
1399 Journalism from Inside
1400 Advertising from Inside
1422 How Businessmen Avoid Litiga- tion
1470 How to Become a Radio Artist
1528 Getting Into Print: Practical
1548 Chinese Cook Book
1567 Making Men Happy With Jams and Jellies
1595 Facts About Calendar
SCIENCE
1299 Origin of Life
1383 How Galileo Was Gagged by
Inquisition 1442 Facts About Graphology
1448 Character Reading from Faces
1455 End of the World
1456 Diet, of Social Sciences
1514 Famous Inventions of Edison
1568 Edison's Famous Questionnaire
1581 Environment vs. Heredity
1607 Einstein's Space-Substance Theory
1621 How Man Will Live in Future
1715 Funeral Services Without The- ology
1722 Fortune Telling from Dreams
PSYCHOLOGY
190 Psycho-Analysis Explained
377 The Psychology of Joy and
Sorrow 447 Auto-suggestion: How it works 491 Psychology for Beginners 651 How to Psycho-Analyze Yourself 727 The Psychology of Human
Affection 777 Riddle of Human Behavior 784 Psycho-Analysis Tests 980 How I Psycho-Analyze Myself 1051 The Cause and Nature of Genius 1063 The Psychology of Laughter 1247 The Psychology of Love and Hate 1344 How to Psycho-Analyze Your
Neighbor 1402 How I Went to the Devil 1434 How to Think Clearly 1439 Your Intelligence: How to Test It 1441 How Ignorant Are You? 1459 Psychology of the Criminal 1471 How to Become Mentally
Superior 1559 Can We Change Human Nature? 1585 From Sin to Psychiatry
PHILOSOPHY
171 Has Life Any Meaning?
179 Gems of Thought. Emerson
184 Strange Primitive Beliefs
202 Survival of Fittest
581 Lucretius on Life and Death
593 As a Man Thinketh
890 Nietzsche's Epigrams of Power 1450 Do We Live Forever? 1452 Does Life Spell Accident or De- sign? 1510 Epicurean Doctrine of Happiness 1522 Why We Act Like Human Beings 1536 Facing Death Fearlessly
1540 How We Can Live Happilv
1541 What Life Means to Me at 72. Darrow
1617 Evil of Error
RELIGION
204 Sun Worship
207 Olympian Gods
236 Reasons for Doubting Inspiration
of Bible. Ingersoll 636 Greatest Thing in the World.
Drummond 677 What Can Free Man Worship?
Bertrand Russell 724 Burbank Funeral Oration. Ben
Lindsey
935 Necessity of Atheism. Shellev
936 Christianity Refuted. Shelley
937 Refutation of Deism. Shelley 1020 Why I Am an Infidel. Burbank 1138 What Atheism Means
1187 Ghastly Purpose of Parables 1311 Real Aims of Catholicism 1332 Debunking Laws of Moses 1372 Why I Am Not a Christian 1385 Defense of Devil 1388 Are Clergy Honest?
1404 Myth of the Soul. Clarence Darrow
1405 Dialog Between Priest and Dying Man
1440 Can Man Know God? 1463 Has Religion Made Useful Con- tributions to Civilization?
1485 Religion of a Free Man
1486 Are Atheists Dogmatic?
1487 A Manual of Debunking 14X9 What is Christianity?
1490 Is Einstein's Theory Atheistic? 1499 New Light on 10 Commandments 1501 Mussolini and the Pope 1539 Debate With Jesuit Priest 1545 Why I Do Not Fear Death
1597 Meaning of Atheism
1598 Is God a Delusion? Debate
1618 Why I Reject Idea of God. Huxley 1625 Is There a Return to Religion? 1637 Absurdities of Bible. Darrow
HUMOR
26 On Going to Church. Shaw 59 Famous Epigrams of Wit, Wis- dom and Wickedness
113 Wit of English
114 Wit of French
115 Wit of Japs
120 Wit of Spain
121 Wit of Arabs
135 Socialism for Millionaires. Shaw 168 Witty Epigrams. Wilde 235 Five Humorous Essays
347 Book of Riddle Rime:
348 Wit of Scotch 1199 Laughable Lyrics 1261 Tongue Twisters
1474 Moguls of Movieland
1475 Best Jokes
SOCIALISM
1690 Socialism and Culture. Sinclair
1691 Why I Am a Socialist. Broun
1692 Socialism and the City. Hoan 16V4 Socialism and Communism 1704 Socialism and the Individual.
Norman Thomas 1706 Practical Accomplishments of
Socialism. Morris Hillquit 1708 The Political Philosophy of
Socialism. Morns Hill'iuit
MISCELLANEOUS
1309 Is the Yankee Vanishing?
1350 Curiosities of English Language
1413 My Prison Days
1418 Broadway Gangsters and their Rackets
1419 Curious and Unusual Deaths 1437 Curiosities of the Law
1454 Diet, of Cont. Authors 1460 Statistics About America
1464 Clarence Darrow Minority Man
1465 European Statistics 1480 Causes of World War 1508 Facts About Poisons
1524 Famous Eccentric Americans 1533 Famous Infant Prodigies 1683 My Life at U. S. Naval Academy 1710 Magic of Numbers
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The New Movie Magazine, January, 1933
13
Get on The Hollywood Bandwagon and hear
the latest Gossip about the People Who Make the Movies.
DARK HORSE: "King Kong" still has the wiseacres guessing, though there seems to be no doubt that it will be one of the big ones of the year. Apart from the ape-monster, who has the name role and who is twenty-five feet tall, the picture stars Bruce Cabot and Fay Wray. If there really is a fight between this huge ape and a dinosaur we shouldn't worry much about the rest of the picture.
Take time out to see "Maedchen in Uniform" ivhen it comes to toivn.
On location for Paramount's "The Island of Lost Souls," Charles Laugh- ton, new screen sensation, and Dick Arlen, old favorite, pause to enjoy the beautiful scenery.
PASSING THOUGHTS: Connie Ben- nett is in New York so she must have finished "Rock-a-Bye." And who said that the motion picture business was without its sense of humor when they can change the title of the new Cagney picture to "Hard to Handle"? It is a real tiger shark that you see in "Tiger Shark," and there are no fake mummies in "The Mummy."
THE Fredric Marches are being very careful of their newly adopted daughter.
They call her Penelope — Penny, for short — but where she came from and whose she was before they obtained her are secrets they profess not to know.
They say they are trying to preclude the possibility of the child's real parents appearing in the future to claim her.
SUSAN FLEMING, Paramount's new hope, takes her place along side Elissa Landi as a descendant of no- bility.
Susan's grandmother, the Baroness Casimir von Philp, member of a Swed- ish family, resides in Bethlehem.
Eddie Cantor was making love to Lyda Roberti on "The Kid from Spain," set. His two youngest daughters, Marylin and Janet, sat on the sidelines.
"Now, don't tell Mama about this," he cautioned them. "You know Daddy has to make a living somehow."
Rudy Vallee licked the dickens out of a stage hand in Baltimore. . . . and thev call Baltimore the "Friendly City."
14
Paulette Goddard, socially prominent debutante, and stage actress, was recently signed to a long-term contract by the Hal Roach studios.
The glamorous Lupe (left) whose rise in pictures was as rapid as her temper is fiery, is now planning to return to the New York stage.
The Neiv Movie Magazine, January, 1933
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The New Movie Magazine, January, 1933 15
DOES IT SURPRISE YOU THAT: Up to date, no remake of an old film favorite has made any money in particular for the producers ? That Ann Harding would wear nothing but black if her maid would let her? That Irene Dunne still wishes she had kept studying for an opera career? That Bruce Cabot is insulted when told he is like Clark Gable? That the resigna- tion of Sam Katz is the most sur- prising thing that has ever happened in the picture business?
And did you ever think that Richard Arlen would be playing in westerns? ... So is George O'Brien, who looked like a world beater in "Sunrise." Billy Dove was in a weeny little part in her last show . . . and how long is it since you've heard of Ina Claire, Corinne Griffith? No wonder stars want big salaries.
Universal recently donated sev- eral of its old silent pictures to a children's county hospital near Los Angeles. . . . Which further proves "Uncle Carl's" soft heart is still soft.
Al Jolson was all set to fly to Mexico City with Joseph M. Schenck when a Hollywood column- ist printed:
"Al Jolson says Mexico has only two kinds of people. Those who ivear shoes and those who shine them."
Jolson did a mental somersault, backward.
"You'd better take Cantor," he told Mr. Schenck.
Lovely Sari Maritza, who pronounces
her first name, "Shari," in the costume
she wears in the masquerade ball
scenes in "Evenings tor Sale."
CONNIE'S NEXT? Connie Bennett's next will probably have her playing the lady-love of the world's heavy- weight champion. I'll go to see that one myself. What has happened to Radio's plans for making "The Sun Also Rises" with the same star?
JOVE GIRLS: Pola Negri, the glam- ■*— ' orous, doesn't get along so well with Dorothy Mackaill. The trouble started when Pola was making "A Woman Commands" and Dorothy was working on "Kept Husbands" on the same lot. The blond English star resented Miss Negri's condescension and said so. A few weeks ago they met in Baltimore and pretty much the same thing is said to have happened again.
BORNEO DRAMA: Katharine Hep- burn is on her way back to the celluloid city to co-star in "Three Came Unarmed," with Joel McCrea. As the story starts in the jungles of Bor- neo we'll probably see just as much of Mr. McCrea as ever. I wonder whether he has any clothes.
We haven't heard much lately about "first ladies of the screen." If Marie Dressier doesn't get your vote, how about Norma Shearer after the grand performance in "Smilin' Through?"
OH, YEAH! The sign on the new Roxy in New York is ten stories in height and has landings and a spiral staircase inside. This is so that peo- ple who don't know New York can find the theater.
The Hollywood Bandwagon ... all the latest
film news and gossip gathered from
here, there and everywhere
Wide World
Wide World
Ready! — Action! — Camera! And the photographer succeeded in getting this unusual action picture of Con- stance Cummings, film star, during a tennis match in the movie colony.
Papa Harold Lloyd and the family,
Gloria, Harold Jr., and Peggy. That's
Mrs. Lloyd in the rear. They are on
a trip 'round the world now.
16
The New Movie Magazine, January, 1933
When Joe E. Brown isn't working on the studio lots, you can generally find him on the golf links improving his game.
Mary Carlysle and Muriel Evans keep that svelt appearance by this kind of exercise. Try it yourself, some time.
Here you find the intimate, behind-the-scenes gossip you can find nowhere else — -contributed
by staff writers who know their facts
WALTER HUSTON'S house in the California mountains is going to be a regular mountain estate. The fireplace in the living room is large enough for a good sized man to stand up in. The room is almost as big as a sound stage.
Walter is making a swimming pool, a tennis court, and his house is to have everything a house in Beverly Hills should have. He is like a child let out of school when he is working around this new house of his, and says as soon as he finishes a picture it is — to the mountains — for him — and he is going to stay there until the next picture. This won't give Walter much of a chance to see his ranch if Hollywood keeps him as busy as it has the last year.
AND Warners must know how to handle Eric Linden. - RKO started him with "Are These Our Children?" and made several others that haven't set the world on fire. Then he goes over to Warners for "The Crowd Roars" and "Life ?ins" and the story is very different.
MYRNA IS DIFFERENT: Myrna has a chance to go straight. She plays a wife, legal and accepted by the family, in RKO's "The Animal Kingdom." It doesn't help her much; she's the menace anyway.
{Please turn to page 103)
Randolph Scott and Sally Blane do a little "heavy"
emoting. It's a scene from the forthcoming Zane Grey
picture, "Wild Horse Mesa."
The New Movie Magazine,' January, 1933
17
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Reducing. Figures. Diets, Exercises! Every time two or more women get together for a chatty time, it9s easy enough to guess irhat they're talking about. More talk {and less real work) goes on about that than anything else. The con- versations probably run about like this:
" A LL you have to do is to eat lamb chops and pineapple three times a day and, my dear, the way you'll lose is too miracu- lous." Or this is a favorite con- versation: "Don't have anything but liquids three times a day for three days and then eat fruit and by that time you'll be down"- — and out, we might add. "Reduc- ing the Right Way," published by
Tower Books, is neither faddy nor foolish. It isn't very speedy, but it's very sure. You eat enough of this and enough of that, but never too much of anything. The exercises suggested are helpful and very healthful. If you're really in earnest, send today for "Reducing the Right Way." It's only ten cents postpaid. Canadian orders are fifteen cents postpaid.
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18
The Neiv Movie Magazine, January, 1933
PMooravh hy Cenrge Hurrell
=
Delectable Boots Mallory, the new Fox find, made her debut with
James Dunn in "Walking Down Broadway." And Boots looks like this all
of the time, whether it's Broadway or Main Street. You'll see her next
in "Handle With Care."
The New Movie Magazine, January, 1933
19
What will happen to
The most complete and au- thoritative forecast you will read of the important changes to be expected in the most critical year of the movies
By RAMON ROMERO
Photo ly Hal Phvfe
20
With such magnificent opportunities as will be hers, Helen Hayes (above, left),
will have established herself so firmly by the end of the year that she might very
easily become queen of the industry by 1934.
Clara Bow (above, right) will perhaps stage the most sensational comeback of
all with "Call Her Savage," and her leading man, Gilbert Roland, will regain the
secure standing that was once his.
The New Movie Magazine, January, 1933
the Movies in 1933?
Constance Cummings (below) is already a star. A girl with a head on her shoulders, willing and able, she should further establish her- self this coming year. Watch her.
I'lioto by Otto Dyar
fit
Photo by Ruth Harriet Louise
Anna Sten (above), the young Soviet actress imported by Samuel Goldwyn, is destined to be as great as Garbo, according to Mr. Romero's forecast.
Photo by Ernest A. Bachrach
Katharine Hepburn, from the New York stage, was a sensa- tion in her first film part with John Barrymore in "A Bill of Divorcement." She's almost certain to get star billing in 1933.
WHEN Hollywood thinks back to 1932 there will be many to whom the thought will bring only bitter memories,' and a sigh of relief that it has passed into eternity — a period of crisis and storm, of shaken foundations and shattered careers, in which Hollywood learned to see with eyes of truth.
The myth of million-dollar salaries is no more; the slogan of "Easy come, easy go" has been replaced by a more cautious one; and the sick heart of Hollywood is beginning to beat once more with normal pace.
The surest sign of returning prosperity is the an- nounced intention of almost every major company to produce at least one or more spectacles. Spectacles cost millions. That means that the purse strings are loosening up; that Wall Street is going to play angel in a big way.
Right now Fox has in work the most stupendous produc- tion ever made on that lot. It's "Cavalcade," the picturization of Noel Coward's play of the history of England, that for two seasons has been the rage of the London stage. More than a million dollars will be spent on it, and thousands of persons are being employed in its making.
Fox plans another spectacular production in the picturization of the novel, "State Fair," which will be a sort of rural "Grand Hotel,"
The New Movie Magazine, January, 1933
Wynne Gibson and George Raft (above) in "Night After Night." A cobra-like per- son, Raft will do better in supporting roles than as a star.
Gloria Stuart (left) was one of the dark horses of last year to acquire stellar honors.
Will she continue her ascent this year? Photo by Ray Jones
21
Will the new year bring a new galaxy of stars ? How many of the old will remain?
Jean Harlow is already a star. Clarlt Gable, too, has at last achieved star billing.
They are shown together, below, in "Red Dust." Jean appears in the heavens
as the only close rival to Joan Crawford.
Photo bp William E. Thomas
Charles Laughton (above) is hailed as another Emil Jannings. Paramount already has starring plans for him.
Photo by Clarence Sinclair Bull
The return of musical pictures should bring back to us as stars such players as John Boles (left). Tibbett, Bebe Daniels and per- haps make Lily Pons a film favorite. Already several musicals have been completed, and others are scheduled for production during the next twelve months.
Dorothy Wilson (right) who was discovered tapping typewriter keys at the Radio studio and given a chance in "Age of Consent. ' She is certainly on the list of potential stars for the next year.
Photo by Ernert A. Bachrach
with such stellar lights in its cast as Will Rogers, Janet Gaynor, Sally Eilers, James Dunn, Phillips Holmes, Louise Dresser and others. And there will be a talkie version of "What Price Glory" and maybe "Seventh Heaven," too.
PARAMOUNT'S contribution to the list of million- dollar pictures will be Cecil B. DeMille's epic of Rome, "The Sign of the Cross." Radio pictures presents a pioneer epic, "The Con- querors," with Richard Dix and Ann Harding.
From that house of hits, Metro- Goldwyn-Mayer, will come such big pictures as the screen version of Pearl Buck's famous book, "The Good Earth," the celluloid edition of Katharine Cornell's play "The Barretts of Wimpole Street," the
WATCH THESE GIRLS!
ANNA STEN
KATHARINE HEPBURN
JULIE HAYDON
CHARLOTTE SUSA
KATHLEEN BURKE
MAE WEST
CLAIRE DODD
new dialogue picturizations of "The Merry Widow" and "The White Sister," not to forget "Rasputin" with the Barrymores.
First National and Warner Brothers will offer as their most ambitious production to date, "The Miracle," the Max Reinhardt spectacle that has been the sensa- tion of two continents. Note the religious influence in three of next year's biggest pic- tures, "The Miracle," "The Sign of the Cross" and "The White Sister."
T TNIVERSAL, spurred on by the ^ success of "All Quiet on the Western Front," will concentrate on making its sequel, "The Road Back," its biggest and most costly production. Unlike "All Quiet" it deals with the aftermath of war rather than with war itself, and will be the first big picture of its
22
The New Movie Magazine, January, 1933
1'hoto by Freulich
Tola Birell, Universale importation from Vienna, groomed well during the past year, accustoming herself to the English- speaking screen, ranks high in the list of 1933 luminaries.
At the moment Joan Crawford rules supreme. This girl, with
the finest dramatic instinct of any girl in pictures, is generally
conceded to be Garbo's closest competitor.
kind. Universal expects to remake "The Hunchback of Notre Dame" with Boris Karloff in the title role this time, and when a suitable lead is found, "Laugh- ing Boy," the Oliver La Farge novel of the Navajo Indians.
Millions of dollars will go into the making of these pictures. New personalities will get their first big opportunities and new stars will be made over- night.
Who will play the nun in "The Miracle"? The boy in "The Road Back"? The title role in "Laughing Boy"? Elizabeth Barrett in "The Barretts of Wimpole Street"? Olan in "The Good Earth"? "The Merry Widow"? Certainly fame awaits the lucky choices.
Musicals, too, will return to favor in 1933, and with them will come an invasion of radio stars. "The Big Broadcast," made by Paramount with such ether fa- vorites as Bing Crosby, Kate Smith, the Boswell Sisters and other darlings of the dial, is the fore leader of this impending movement — or call it dis- aster if you like. The jolly, rotund Kate Smith has already been re-signed by Paramount to star in a picture, the story of which is now being written by no one less than Fannie Hurst. They must have figured Miss Hurst was one of the few writers who could give a fat girl "hu- man interest."
T^OX is planning several " song and dance pictures with their new importa- tion, Lilian Harvey, and Radio, during the coming year will present their version of Chevalier in the
(Right) Andy Devine is another boy who ought to establish him- self during 1933. One of his greatest assets — and one of any actor's greatest, by the way — is his naturalness.
Photo by Clarence Sinclair Bull
Charlotte Susa, just recently imported from Germany for the American screen. Her English almost perfect, with a fine film, stage and musical comedy background, she is still one of the dark horses of the year. But there's no one in Hollywood who'll miss her first picture.
Photo by Ray Jones
Photo by Ernest A. Bachrach
Bruce Cabot (above) is another young player for
you to watch this year. He has the ability and
the chance. Will he make good?
The New Movie Magazine,- January, 1933
23
Will it he a year of spectacles, of musicals? And what will the cycles
Robert Young (right) is a comer. Keep your
eyes on this young man during the next few
months, because he's coming into his own.
Photo by Hurretl
Kathleen Burke (below), the "Panther Woman," although she has had no chance to test herself before the fans, is so enthusiastically admired by Paramount officials that she probably will burst forth as a featured player, if not a star, during the coming year.
Photo by Eugene Robert Rieltee
Photo by Elmer Fryer
Who can deny the great ar- tistry of Ruth Chatterton (above)? Can we afford to lose so fine an actress, spoiled of late by mediocre stories?
person of Charles Lederer, a London musical-comedy favorite. Eddie Cantor and Al Jolson will supply the musical atmosphere from the United Artists lot. Jolson's first picture in two years, "Happy-go-Lucky," is ready for release; and Eddie Cantor's idea of a toreador, "The Kid From Spain," reaches the screens of America just in time to start the New Year right. He will make one other during 1933, and you can depend on it to chase the blues away.
Metro-Goldwyn-Mayer's remake of "The Merry Widow" will be its big musi- cal picture for the year. It is believed that Jeanette MacDonald will play the Mae Murray role, although at this moment Joan Craw- ford is studying up on her
'\
^
Bebe Daniels (above) will make "Radio Girl," and once again the voice that surprised the world in "Rio Rita" will save Bebe from a long, lingering screen death.
WATCH THESE BOYS!
ROBERT YOUNG
BRUCE CABOT
CHARLES LAUGHTON
CARY GRANT
ANDY DEVINE
WILLIAM GARGAN
dancing with a view to cap- turing this prize part for her own laurel wreath. How about Nils Asther as Prince Danilo?
Warner Brothers will have on their list of musicals, "Forty-Second Street," which will mark the screen debut of Ruby Keeler, (Mrs. Al Jolson). She will b.e supported by a flock of First National and Warner Brothers stars. Bebe Daniels will make "Radio Girl," and once again the voice that surprised the world in "Rio Rita" will save Bebe from that long, lingering screen death.
These musicals should do much, too, to revive the popularity of John Boles and bring Lawrence Tibbett back to the screen. It will not be surprising if Lily Pons, the new Metropolitan sensation, should make a picture. And surely RKO will not miss the bet of making a musical with Irene Dunne, whose mag- nificent voice made Magnolia in "Show Boat" a never- to-be-forgotten memory.
Buddy Rogers is headed back for Hollywood. Kate Smith is coming. Bing Crosby, too. Russ Columbo has signed for a picture and so has Harry Richman. It looks like Radioland is moving to Hollywood. The crooners are coming! And heaven help us, with them the songwriters !
GRETA GARBO is conspiciouslv absent from the 1933 star list, but I'll bet the Beverly Hills swimming pool that I haven't got, that languorous Greta is back in the swim before the end of the year. And what's more, she'll come back Queen, and there are ten million movie fans to back me up on that statement.
At the moment Joan Crawford rules
24
The New Movie Magazine, January, 1933
be? Who will be the outstanding producer?
Dorothy Jordan (below), rising steadi- ly and permanently in popularity, build- ing conservatively into starring material
Film critics are predicting that you will
see another new and sensational star —
none other than Mae West (above), the
"Diamond Lil" of Broadway.
Claire Dodd (left) is a surprise package. I caught a glimpse of her in "The Crooner," and was greatly impressed by this unknown. Now I understand she is being groomed for stardom.
Photo bit Irving Lippman
supreme, but the failure of "Rain" to come up to expectations will retard her a little; yet leave it to Crawford to reach her goal as the outstanding star of motion pictures. This girl, with the finest dramatic instinct of any actress in pictures, is Garbo's closest competitor.
Jean Harlow is the girl that Joan Crawford has perhaps the most to fear. But Jean is more a sen- sational personality rather than a great actress. Threatened a few months ago with screen extinc- tion because of the Paul Bern tragedy, public sympathy has turned her way, and her future is more assured than ever. The original "platinum blonde" is headed for the greatest year of her career. After that — ?
The new year finds Ann Harding, Helen Twelve- trees, Gloria Swanson, Ruth Chatterton, Tallulah Bankhead, Billie Dove, John Gilbert, Ramon Novarro, Dolores Del Rio and a few other illustrious names of the past, dangerously on the brink of Hollywood oblivion. Poor stories, more than anything else, are to blame for the failure of these stars to retain their popularity. And only a good story can save them now. Nineteen hundred and thirty-three will write their doom unless some miracle happens to resurrect them from the insipid roles they have been made to play during the past year.
Who can deny the gi'eat artistry of Ruth Chatter- ton? I thrill even now at the very thought of her "Madame X." It was hoped that when she moved from Paramount to Warner Brothers she
Irene Dunne, if only for her work in "Back Street," deserves to be among the great. She should be one of the biggest stars in the business this coming year. Eric Linden, shown here with her in "No Other Woman," should be one of the prime favorites.
Photo by Irving Lippman
Warren William (above at right) has already been elevated to stardom. A vital personality, he is sure to build a large following. Ann Dvorak (above at left) was one of the finds of the last year, achieving featured roles almost immediately. This next year will in all probability decide her fate.
would receive better material. An executive on that lot tells me that she alone is to blame for she picks her own vehicles, and insists on directing her- self. The same fault that wrecked Nazimova. The studio is not anxious to retain her at the expiration of her contract this year. Does that mean that we are to lose her? Can we afford to lose so fine an actress? Miss Chatterton, as one of your most avid fans I plead with you to stop being a screen beauty. The fields are full of them. Give us less (Please turn to page 69)
The New Movie Magazine, January, 1933
25
Alison Skipworth, thirty-three years a trouper, veteran of more than one hundred stage plays. . Now she is one of the leading personalities of the screen, recently finishing Paramount's If I Had a .Mi lion. At present she is working on "Strictly Personal," with Richard Bennett.
26
The New Movie Magazine, January, 1933
The Success Blues
Old Man Hardluck Sticks to His Star
By SLIM SUMMERVILLE
As Told to Jack Hill
FRIENDS tell me that I have ''arrived" — that I am success- ful. I hope it is true. The road has been long — the detours many and plentifully sprinkled with badly aimed pies and tons of decorative whitewash.
A favorite copybook slogan in youthful days read, "The suc- cessful man is the happy man." As a boy, I believed it. Today, I know the maxim was written by some early Hollywood gag man, trying to be funny.
We all hope to achieve success. But, hand in hand with it, so far as I am concerned, has come more worry, more grief and more hard luck than ever confronted me in the old days when my pictures ended with a funny fade-out and the second reel.
After fifteen years of the comedy lot — starting as one of the original Keystone cops — I got my first real break when Lewis Milestone gave me a chance in "All Quiet on the Western Front." It was my first important, feature-length role. Follow- ing the Los Angeles premier, the critics were more than kind. And was I happy? I hope to tell you.
Three days later a casting director called. "Drop in and see me," said he. "I can give you the comedy role in 'Kismet' with Otis Skinner." And he named a three-figure salary that stag- gered— and was my face red?
A second summons came that same evening. "Would I accept" — imagine would I accept! — "a comedy part with Mary Pick- ford?" The copybook man was right and to prove it opportunity had knocked twice — twice in the same day. Success, as it then looked, was a wonderful thing.
But in the midst of my new-found happiness, Old Man Hard- luck walked in and spoiled the scene. "Slim," said he, "be careful — remember! You are the {Please turn to page 71)
Louis Wolheim, as Kat, toasted Tjaden (Slim Summerville) in "All Quiet on the Western Front."
The New Movie Magazine, January, 1933
27
JIM TULLY Reveals the Real
Colleen Moore
She had trouble in plenty — before and after success — and much of the story is told here for the first time
HER girlhood name was Kathleen Morrison. Her birthday is on August 19th. Take your choice of any year. Colleen does not tell. She is a decided brunette, and prefers comedy to drama. Her favorite screen role is that of Selina in "So Big."
She hopes to end her life as an interior decorator.
Her father was an efficiency engineer. Owing to his profession the family moved about a great deal. Michigan, Florida, Georgia, and Illinois are some of the states in which Colleen Moore spent part of her girlhood.
At five years of age she began the study of music. With the hope of becoming a concert pianist, she gradu- ated from a Florida convent and later studied at the De- troit Conservatory of Music.
As a child she organized her own "theatrical company" among the children of her neighborhood. She early be- came a "quick change artist," wearing the clothing of the villain under the garb of the hero.
Growing ambitious, the future film star decided to do a tragic society play. Accordingly her mother's best evening gown was "borrowed" for the occasion.
While the children were rehearsing Mrs. Morrison looked about for her gown in order to wear it to a social function. She finally made her way to the abandoned spot where the children played.
(Above) Colleen keeps in condition by a daily swim on her beautiful Bel-Air estate.
(Right) Mrs. Mary Kelly, Colleen's ninety-one-year-old
grandmother, who was one of the few persons who
really understood her.
28
The New Movie Magazine, January, 1933
(Left) Colleen as she looks today. Will she realize again her great ambition?
(Below) Colleen, with her mother, Agnes Kelly Morrison, and her father, Charles Morrison, photographed some years ago.
Mrs. Morrison's daughter walked up and down the dusty stage, trailing the beautiful blue evening gown in a very tragic scene. A more tragic scene soon followed. Colleen Moore played her first "crying part."
When Colleen was about fourteen years old she was given her first chance to enter films.
Her uncle, Walter Howey, then man- aging editor of a Chicago newspaper, introduced her to David Wark Griffith, a leading film director of the period.
Griffith was quick to see a potential actress in the young Irish girl, and offered her a six months' trial in Cali- fornia.
There immediately followed a serious family discussion. Much was to be con- sidered. For some weeks the Morrison family was a house divided against itself.
Her father was averse to a film career for Colleen. Mrs. Morrison was, as usual with mothers, the diplomat in the home.
"As you know," she said quietly to her husband, remembering her blue evening gown, "Kathleen has always been anx- ious to become an actress. I do not think we should stand in her way." The father frowned. A happy idea came to the mother. "Kathleen is still a child — let us give her two years — she will know in that time about what she can do — and if she fails she will still have time to go into some other work."
The father wanted time to consider.
At the frantic request of Colleen, a mighty friend came upon the field.
She was one of those strong unyield- ing old Irish women who had early learned how to suffer and endure. Like all such women, her laughter was never far from tears. At the corners of her eyes were (Please turn to page 73)
The New Movie Magazine, January, 1933
29
Radio City
The New Movie Magazine, January, 1933
-THE NEWEST WONDER
OF THE WORLD
The New Movie Magazine, January, 1933
31
Radio City
<r**h'
THE NEWEST WONDER
OF THE WORLD
The New Movie Magazine, January,
ig3S he Neiv Movie Magazine, January, 1933
The Story of an
By Edwin C. Hill
John D. Rockefeller, Jr. and his associ- ates gave Roxy, master showman, a signed check with the amount blank — and told him to go to it. Read what he did with it!
ROCKEFELLER CENTER with its Radio City is an utterly impossible fact. It's one of those things which just couldn't happen — but there it is!
The most expensive hole in the ground in the history of the world is sprouting stupendous towers and gor- geous palaces so rapidly that your head spins every time you stroll up Fifth Avenue to take a new look.
In less than two years three solid blocks of dingy old buildings in the pulsing heart of Manhattan have been ripped out to make way for the Taj Mahal, the Hanging Gardens of Babylon, a second edition of the Empire State Building, the Alhambra and a few streets of Paradise done in Indiana limestone and Carrara marble.
That Aladdin of the 20th century, John Davison Rockefeller, Jr., made a few passes with his checkbook, abolished the past and challenged the future with the most gallant gesture of business history.
Less than two years ago that twelve acres of Man- hattan's heart which lie between Fifty-first Street and Forty-eighth Street and between Fifth Avenue and Sixth Avenue, was the 19th century. You could still hear the clopping feet of the fat carriage horse and see the flickering flames of the gas lamps.
Before the glad Christmas bells have ceased ringing this December you will be walking with pop-eyed amazement straight into the 21st century.
It is incredible. It is strangely wonderful and uncanny.
32
M. H. Aylesworth, president of the National Broad- casting Company, and the Radio-Keith-Orpheum Corporation, who was one of the guiding spirits in the creation of the world's greatest amusement center. Every square foot of it, every brick piled upon brick, is a ringing challenge to the future.
The New Movie Magazine, January, 1933
Aladdin's Dream
|
He changed the musical |
tastes |
|
of a nation. Yet he can't |
read a |
|
note of music. More than |
a little |
|
he resembles Mussolini, |
whose |
|
only motto is, "It can be |
done!" k |
|
He got his nickname, |
"Roxy," Jj |
|
when playing baseball. H |
e is one f|F^ |
|
of those rare creatures — an jS . |
|
|
intensely practical dreamer. f |
|
|
\?^f'i?:. |
An interior view of the grand lounge, one of the show places of New York.
It is wizardry out and out, and reading from left to right I shall name you the wizards: Rockefeller, Owen D. Young, General Harbord, David I. Sarnoff, Merlin H. Aylesworth and — Roxy.
D OCKEFELLER CENTER and Radio City— these en- •*■*■ chanted twelve acres which so startlingly demon- strate what doers can do with a dream — is bounded on the north by General Cornelius Vanderbilt, on the east by Saint Patrick's Cathedral, on the west by the clanking elevated and on the south by seventy-four speakeasies that escaped Mr. Rockefeller's house- wreckers.
This is the second time in the span of a century that this tract of land has been kissed by Destiny.
Back in the days when Jimmy Madison was President of the more or less United States, and his Dolly was galloping down the steps of the White House hug- ging a portrait of General (Please turn to page 95)
The New Movie Magazine, January, 19 S3
The auditorium of the new Roxy, the first example of modern theater architecture in America.
33
When I had a crush
IF you have ever loved a Barrymore, you know that, like jungle fever, lumbago or other recur- rent diseases, you are in for a touch of "Barrymoritis" from time to time.
I am just able to sit up and write about my latest at- tack. I felt it coming on when I saw him in "Grand Hotel." At a preview of "A Bill of Divorcement" the symptoms were unmistakable, and when the Editor asked me if I could write a story about John Barry- more, I knew there was no escape, so I took it big and asked him to come and see me (The Barrymore, not the Editor!).
"Jack," I said over the phone, "I've been asked to write an intimate article about you." His infectious chuckle pounded gaily on my ear-drum.
"How many thousand words?" he asked.
Suspicion stirred as I answered, "You sound like a writer yourself."
There was a slight pause, another chuckle, before the Barrymore spoke.
"I am," he said. "I'm writing the Saga of the Barry- mores for the — blank magazine."
A Confession by ELSIE JANIS
The story of a Lovely Romance told for the first time
"Well, that's fine. You must tell me all about it. When may I see you?"
Barrymore — When do you want to?
Janis — As soon as possible. Barrymore — Where are you now? (This highly reminiscent of the old days.) Janis — At home in bed! Barrymore — I'll be right over!
ID E FORE the plot curdles and you might hope that the *-* most devoted, contented and adored husband of my acquaintance was handing me "a line," even a telephone line, I must admit, though it depresses me to do so in my "convalescent" condition, that he is so thoroughly married to the delightful Dolores, so Costello-ed and mellowed that I, still browsing in the light of a honey- moon, found myself wondering if my young husband managed to drag my name into every subject from deep-sea fishing to jig-saw puzzles. Well, anyway, so far my young man hasn't been away long enough to say much about anything, and in the home you can imagine how rarely he gets a chance to talk. So that's that and let's get on with (Please turn to page 72)
Photographs from Culver Service
Barrymore in one of his first pictures, Paramount's "On the Quiet," produced in 1918. Would you recognize him as the Barrymore on the opposite page?
Elsie Janis, during the war. . . . What a desirable com- panion Jack was thought NOT to be for a young and closely guarded star such as the Janis 1909 model.
John Barrymore in 1908, con- sidered by most people a bad boy — fascinating but bad — a natural combination.
34
The Neiv Movie Magazine, January, 1933
on John Borrymore
■?0M:y
m-
John Barrymore as Prince Paul in M-G-M's "Rasputin," in which John, Lionel and Ethel Barrymore appear to- gether on the screen for the first time.
The Neiv Movie Magazine, January, 1933
35
THE
5 Most Dangerous
By VIRGINIA LANE
HERE they are— the five most dangerous women in Hollywood. They have been selected by the foremost directors, psychologists and artists, a group that knows. Danger surrounds them, shadows them. Danger to the male of the species. It's in their every gesture, in their words, in their eyes. Each is danger- ous in her own way . . . and that way is deadly effective.
Look at them — these gorgeous creatures of the screen who menace man's peace of mind : Greta Garbo, Joan Crawford, Janet Gaynor, Lili Damita and Clara Bow.
They're types, types representative of the five distinct kinds of dangerous women.
With Garbo there are three outstanding things that spell peril — mystery, that feeling of restrained fire, and her provocativeness. She provokes every man with whom she comes into contact . . . stimulates his interest without so much as lifting her little finger. It's partly her naive manner of raising her eyes slowly and look- ing straight at him and partly her suppression. It isn't what she says that matters so greatly; it's what she leaves unsaid.
Man never quite grows up. All through his life he loves to tinker and experiment . . . and whether it's with an engine or with a woman's emotion, he always adores having his interest intrigued.
Who they are and why they
are — a fascinating analysis
that every woman should read
It takes a good bit of experimenting to fathom Garbo. She isn't obvious. Do you recall that incident on the couch in "As You Desire Me"? As fine a bit of femi- nine skill as ever I've seen. With scarcely a word she stirred Melvyn Douglas more than if she had poured into his ear all the honeyed endearments known to lovers.
Garbo always seems to be living an inner life that i3 all her own. And nothing arouses the male curiosity
36
Joan Crawford and Nils Asther in a vivid love moment in "Letty Lynton." . . • Today Joan is dynamite. She spells Fascination in capital letters a mile wide. Daring, smart and awfully knowing.
Greta Garbo and Melvyn Douglas in "As You Desire Me." . . . With Garbo there are three outstanding things that spell peril — mystery, that feeling of restrained fire, and her provocativeness.
The New Movie Magazine, January, 1933
Women in Movies
Lili Damita. . . . For sheer vitality, joy of living and subtle romance there is none to equal her. Here you see her with Roland Young in "This Is the Night."
The danger that Clara Bow pre- sents is perfectly obvious. She's primitive, elemental — no hedging about or artful by-play.
Janet Gaynor and Charles Farrell.
. . . There's nothing so deadly to
peaceful bachelorhood as fragile,
appealing femininity.
more. Just by way of an example, there was a young woman living on our block who was on the verge of losing her husband. One day she came upon a pho- tograph of Greta Garbo, and she studied it for a long while. That evening when friend hubby came home she greeted him with a slow, secretive smile and kept a fai'-away look in her eyes. Instead of the usual arguments, she spoke to him in low, thrilling tones — when she spoke at all. She let her gaze rest upon him dreamily. Finally he couldn't stand the sus- pense any longer and demanded to know what ailed her. She smiled a little wistfully, laid her hand on his arm for a moment and answered, "Nothing . . ." Naturally, he was disturbed. He couldn't concen- trate on his paper. He stole a glance at her; she was musing by the fire. The end of the evening found them linked in each other's arms. And she never again made the mistake of losing her mystery for him. She is the slender, exotic type, consequently such a demeanor is most becoming to her.
MARLENE DIETRICH is danger- ous in much the same way as Greta, only you feel here the danger is more imminent and less subtle. She is ready to burst into flame any in- stant. Greta smolders longer. Mar- lene has a trick of looking from be- neath her lids so that a man doesn't know what to expect next. She may kiss him — and then again she may strike him. And when she dances, she dances for him alone. Music that sets your heart throbbing, tantalizing rhythm — that's Marlene. Oh, there's tremendous (Please turn to page 83)
Plioto lij Hal Phyle
The New Movie Magazine, January, 1933
37
Th
ese
N
ew
York
By HERB HOWE
oncers!
NIGHT life has come at last to the Sodom and Gomorrah of the Orange Juice Belt, as Hollywood and Beverly are generally known, according to Will Rogers. We're having raids with our revues and all manner of cosmopolitan delights. Paris is brought home by La Boheme and Bal Tabarin, Berlin by female impersonators flowering everywhere and New York by cops appearing unannounced — the saucy things — amid the swooning blossoms.
What once was a bourgeois dance hall on Vine has become Bal Tabarin with a floor show and "food in the French style." La Boheme, originally done in the auberge manner with checkered tablecloths and saw- dust on the floor, now has the elegant Mr. Karyl Norman, Creole Fashion Plate, doing female impersonations with the aid of Sadie Thompson's neckpiece from "Rain." It's a gift — the neckpiece I mean — of Miss Joan Crawford. In the Club New York, below stairs in the Christie Hotel, Mr. Jean Malin is satirizing our sirens. He does an imitation
There are certain actresses flaunting "sophisti- cation" that would make a marine yell like every- thing for the smelling salts.
38
predict that when "State Fair" is released the histrionic ability of Blue Boy, the Iowa prize hog, will be quickly recognized, and we'll have a pig in our parlors.
The New Movie Magazine, January, 1933
Our Hollywood Boulevardier rushes bock from
tequila to find Lupe and Jimmy, oh, so changed
of Miss Greta Garbo for which he deserves special indulgence since he accomplishes it without the aid of neckpiece, Miss Garbo being neglectful. B. B. B.'s basement has a covey of lads in gowns of their own delirious creation. The Backyard, a skip down the alley, has artful deceivers of the same genre.
Cops raided B. B. B.'s boite and found gin under a table of two patrons. The proprietor said the loathesome persons must have been New Yorkers. Hollywood boys never stoop to bottles under the table. We're above board in the Orange Juice Belt. The next night the police visited The Backyard and found bottles there too. Must have been these same two New Yorkers. A few days later a cop went booze-batty in a park and popped his pistol impartially at women and children, swans and poinsettias. He was charged with being a New Yorker and given fifty days.
HpHE interest in ruffled and rose-budded impersonators is purely *• archaeological, thinks an actress of my acquaintance, who wears up-to-the-minute slacks and tweed double- breasters. "They offer the last stand of women's clothes," she says.
RESTAURANTS have their day the same as stars. The Come-On-Inn was the first lunching place of the quartier. Musso-Frank and (Please turn to page 88)
Pal Cagney says his first picture will be "Bad Boy." But he's been East, and I wouldn't be sur- prised if it turned out to be a version of Little Lord Fauntleroy.
In viewing herself in the rushes, Pola would break into spontaneous ap- plause, exclaiming, "Gott! how marvelous!" Pola is one person who never bored Pola.
Sketches by
KEN CHAMBERLAIN
The New Movie Magazine, January, 1933
39
Meet the VAMPIRE
Wherein the monster, Dracula,
is unmasked by o litter of puppies
By BARBARA BARRY
I TALKED to him. This man who dares not sleep at night. This strange being who dreads the darkness that is peopled with supernatural beings . . . evil talons, poised to strike . . . grinning mouths . . . dripping with the blood of their victims. . . .
Quaking inwardly, I stood before the entrance of Bela Lugosi's imposing castle in the mountains, waiting, timorously, to be admitted. No sound came from within. The eerie stillness was stifling. Unseen hands seemed to clutch at my throat. Dis- tantly, a hound bayed. I wanted to run away.
But the wide oaken door was opening . . . slowly . . . soundlessly. Desperately, I tried to turn and flee from the evil spot. But my feet were rooted to the ground. . . .
AND now, kiddies, if you're sufficiently cooled -**■ off, permit the ducky bumps to go into re- tirement, comb down your top hair, and meet the most misunderstood, misrepresented man in all Hollywood !
Ever since "Dracula," Bela Lugosi has been pictured as a veritable fiend in human form, a being — half man, half vampire — who cavorts with evil spirits and nips sleeping females di- rectly south of the Adam's apple, by night ; and scampers (or flits) to his underground tomb, by day.
But, don't you believe a word of it! Auntie's going to drive a stake through the heart of that story without further delay. And here's how:
In the first place, any neck-nipping vam- pire would have a tough time finding a Hollywood female who sleeps nights. And it would be even a tougher job for him to locate a tomb in which to lay his weary head. Because all the un- derground "tombs" these days are naively termed "speakeasies" and happen to be closed during those hours when self-respecting vam- pires are supposed to be sleeping it off. So there !
B
"Unseen hands seemed to clutch at my throat," says Miss Barry, describing her meeting with Bela Lugosi. She might have pictured the scene in Dracula (above).
40
ELA LUGOSI greeted me with an abstraction that was disturbing, to say the least. From the first moment, he re- garded me silently, quizzi- cally, until I began to feel as though I'd stepped from the bath tub, smack into the middle of Hollywood Boulevard. Sort of un- comfortably "de trop," if you follow me? (And I'll bet you would!)
Previous to the interview, a mutual friend had warned me that the Hungarian Menace was ex- tremely temperamental and liable to leap up at the most unexpected moment, and shout: "For God's sake, let's get done with this!"
Consequently every (Please turn to page 68)
The New Movie Magazine, January, 1933
Photograph by Hurrell
This is the latest picture of the talented, brainy and beautiful Norma Shearer. She is now resting on her
laurels after "Strange Interlude," one of the most artistic efforts in screen history, and the appealing
"Smilin" Through." And she's all she seems — one of the finest women of the films.
The New Movie Magazine, January, 1933
41
Ancient Rome lives again in barbaric splendor in her fierc
42
The New Movie Magazine, January, 1933
ar on the Christian martyrs in The Sign of the Cross
;
Wtm
A fortune has gone into the new Paramount spectacle, "The Sign of the Cross," directed by Cecil B. DeMille, whose ambition was to make it the most stupendous mass drama of the films. In this first composite picture of ad- vance stills, you see high spots of the production and some of the array of stars including Fredric March, Claudette Col- bert and Elissa Landi.
i ::«
*
■'.
■ :.:
> , " t 1\
;■•-.■■;••
* •
"
The Neiv Movie Magazine, January, 19S3
43
Ancient Rome lives again in barbaric splendor in her fiereewar on the Christian martyrs in The Sign of the Cross
The New Movie Magazine, January, 1933 >e Neiv Movie Magazine, January,
43
Togo in Hollywood
WALLACE IRWIN'S
Japanese Schoolboy is
Invited to a Day Off
at Malihu Beach
TO Editor Tower Magazin, who save time by not anser- ing my letters, Dearest Sir : —
Me & Nogi are now working as one (1) in palace of Hon. Geo. F. Ogre, the Brain of Hollywood. He say he cannot tell us a Part, so he call us Hay. When he say "Hay!" with voice we make a walk-up to him like a pair of sho-girls.
Other morning A. M. he holla "Hay!" so we march inside his Thinking Studio. There he were, watching us through the baloon-tire specktacles he put on to make his mind go faster. He spoke following:
(Barrymore) (Okie) "All work and no play make Jack(Coogan)a dull boy.
(Gilbert) "After the strenual, nerve-stretching work of Holly- wood it are necessary to relax and set down on Nature, or one (1) would go crazed.
"Human nature get all frazzed & jade from staring
44
at electricity all day long and having his every word photografed. We must sprank and play kitten-games for a while, thusly escaping from our toil."
"To where would you escape to?" require me and Nogi together like sho-girls.
"To Maliboo Beach," he narrate. "There you can find a ocean and sand, all mixed with breezes, where all Hollywood will collapse together this p. m. (noon) for joyful picknick. We go there to forget Work and just be a lott of Kidds. So please tell my wife, Miss Caramel Sweet, to get together some few simpul things and prepair for this lightheart frolick."
0 Mr. Editor, think how me and Nogi jumped! What what can be more sweethearted than getting on top of Nature with a picknick lunch and nothing to do than be unumployed?
Therefore, we enrush to door of Miss Caramel Sweet, where she were taking 3rd bath for that morning.
"Never mind soap, Mrs. Madam," I holla through door. "We are going to a Ocean where washing is free."
The New Movie Magazine, January, 1933
"Who are the greatest lover in Hollywood?" negotiate Hon. Nils.
"Frank Buck's baby elephant," snuggest Hon. Richd Dix.
"O horrus!" she otter. "Must I enjoy myself again? Pack my trunk and 9 sootcases & I shall be ready in 4 hours."
So me and Nogi, with help of a lady's made and 2 furniture movers got Miss Caramel Sweet pack-up for that jolly picknick. When at lastly she come out, arranged in a custume of mermaid yellow, to match the ocean, she ask with needles in her voice:
"Togo, how many shades of lipstick you fetch along?"
"3 shades," I deploy. "Sun-shade, noon-shade and lamp-shade."
"Then why has everybody kep me waiting so long?" she ask to know.
Therefore, me and Nogi pour all her luggage and trunkage into a moving vann & folia her Rolling-Roys- tering car out to Maliboo Beach. And O, what we see when we get there!
It look just like a Carnival of Venus.
Any one of those ladys stroling on sand could of took prize as Miss Ypsilanti in Atlantic City Beauty Combat. Walking around there I see a flock of Jones.
Jone Bennett & Jone Sawyer & Jone Marsh & Jone Crawlford.
"Keeping up with the Jones at Hollywood are some axercise," I corrode. •
"That joke would sound delicious in Japanese," say Cousin Nogi.
I see Miss Arline Judge and Hon. New Rochelle Hud- son, looking very Vassar Colledge. Also Hon. Sheela Terry, wearing her sunburn in the back. I see Hon. Bet Davis, wearing a medicine ball, but she do not need it. Virginia Bruce, standing around with Jack Gilbert expression.
There was the Ocean and there was they. When do you think they are going to swim? Others come up, including men. They stand, they smoke, they say words. Then upcome Hon. Anita Page and walk toward Pacifick Ocean like she intend to get wet.
"Stop it!" holla Hon. Geo. F. Ogre with maggaphone.
"Stop which?" decry Hon. Anita.
"Do not touch that ocean till I say so. We are going to have some fun." (Please turn to page 94)
The New Movie Magazine, January, 1933
45
BROADWAY vs.
Continuing — the real inside story of
Will Hoys ond his ten yeors in the movies
By one of America's most distinguished authors — WILL IRWIN
v:
WILL HAYS
Photo by International News
OLUN T'ARY regulation of the motion picture — which means the same thing as the Hays organization — went over the top in 1927, when the pro- ducers agreed on the celebrated code of "Don'ts" and "Be Care- fuls." Then the talk- ing movie and the gunman picture, swing- ing into action just after this partial vic- tory, inflicted a temporary repulse.
For a time it seemed almost as though Will Hays had wasted five years of quiet, undramatic struggle. But he had been building broadly; and in the end, the set- back served only to speed up his oper- ations.
In 1930, after eight years, he reached and took all his objectives; established that unique system of voluntary control which now governs the motion picture business and which, so far as any prophet
can see, will probably govern it perma- nently.
First, he moved on Hollywood directly. Those who have read these articles will remember that in 1927, after the pro- ducers signed their original code, he startled a confidential assistant by proph- esying that some day Colonel Jason S. Joy would sit in the studios, advising with the directors, scenario writers and actors from the very inception of their films.
Joy had been executive head of the Public Relations department from the first months of the Hays organization. In that important and trying position, he served as a channel for public opinion. At the beginning of his work, sixty na- tion-wide organizations concerned with education and public morals fed him criti- cism or approval ; their number, by 1927, had grown to three hundred. All this time, he had seen, in whole or in synopsis, hundreds of letters every week from the unorganized public. No other man alive, not even Hays, had become such an expert on American tastes, aversions and mod- esties.
Events had moved fast since 1924, when Hays must needs visit Hollywood to pry from the pro- ducer the scenario of that perplex- ing book "West of the Water
(Left) Jason S. Joy, recent head of the Hays Department of Public Re- lations, acting as a studio mentor and guide whenever any picture seemed not in key with good taste.
Photo by Keystone View
(Below) This is a village in upper New York Srate, typical of what the film business regards as "Main Street," where the great majority of American people attend the movies. And they are the back- bone of the country.
Photo by International News
V-
M
M,
46
The New Movie Magazine, January, 1933
MAIN STREET
What goes on behind the scenes when pictures are made
I' koto by International Neivs
Tower." Now, hundreds of scripts traveled to New York by air mail yearly for the advice of Hays; which meant in practice the advice of Joy, his expert. But the coming of the talkie, as I have explained in_ a pre- vious chapter, had played ducks and drakes with the old, set code, formed to regulate the silent picture.
It did no good to purify and endorse a script when an actor, by his performance — sometimes by so slight a trick as a turn of inflection — could produce an effect
The New Movie Magazine, January, 1933
Boris Karloff in "Frankenstein," one of the first "horror" pictures that threatened to deluge the business.
(Left) New York's Times Square at night, the center of Broadway's theatrical district. From this and other Broad- ways over the country, the motion picture producer derives the greater part of his revenue.
which might horrify the virtuous or offend great parts of the national audience. For a little example, let me cite this : a certain film had part of its action in Italy. The Hays office saw the script. By custom grown almost automatic in recent years, it consulted the Italian Embassy which, after a small revision or so, pronounced the film entirely inoffensive.
But the cast included a squad of Italian policemen. In course of production, the actors played these parts as comedy — with wild, explosive Latin gestures, with "sissy" attitudes. And all Italy, both at home and abroad, rose up and denounced this caricature of Italian government officials. Reading and editing the scenario would never avert this kind of trouble.
SO, the way being prepared, Hays revamped his or- ganization again; created the Studio Relations Com- mittee, with headquarters not in New York but in Hollywood. Colonel Joy became its executive; and Carl E. Milliken, ex-Governor of Maine, who had served as secretary of the organization for several years, ex- panded his job to include the Department of Public Relations.
For sweet simplicity's sake, I shall overlook at this time the series of agreements which gave this Studio Committee almost legal sanction, and go on with its own special history. (Please turn to page 89)
47
WHAT'S IN A FACE?
Weird lights flicker on the face of Karloff, Universal star, as he becomes the mummy brought back to life by a magic spell in "The Mummy," fantastic story of reincarnation. The make-up man spent three and a half hours making him look like this. Could you do better?
(Right) Torn between love and duty. . . . Karloff doesn't know whether he should accept tea from his wife or from his director, Karl Freund.
48
The Neiv Movie Magazine, January, 1933
Hollywood Cook-Coos
Wild and weird clicks from the
typewriter of the famous humorist
-TED COOK
/f/L
P
Another good way for a star to keep from
attracting attention at previews is to
attend with a sack over his head.
NEWS item says Richard Dix is so crowd-shy that when he attends previews he holds a handkerchief to his face to avoid recognition. Another good way to keep from attracting attention is to attend previews with a sack over your head.
Or nimbly dash through the door yelling "Fire" in a loud voice.
And a lot of interviews are tossed Off by stars with their fingers crossed.
Tj^OR more years than we care to have rudely men- " tioned, we have observed the m. p. industry worrying about the facts of life.
Should motion pictures stress sex, or more sex?
Some say "Yes," and some say "Oh, yes, indeed."
But until a few moments ago, no one had taken the trouble to make an exhaustive survey. It is our un- selfish purpose to lend a guiding hand to the motion picture industry, as it gropes up a blind alley. We have taken the bull by the scis- sors, so to speak, and com- piled a medley of helpful opinion on the subject of sex.
Now go on with the story — ■
"Sex is simply a part of life to an American girl." — Joan Crawford.
A new wrinkle in femmeform flashes is synthetic hips made of lamb's wool by an under- cover modiste.
By arrangement with The Brown Derby we have obtained first rights to information scribbled on table-cloths.
"It is important that people do not become bored with their entertainment." — Lee Shubert.
"Thousands of letters ask me this question, 'How can
I reduce the proportions of that part of my anat- omy on which I sit?' " — Sylvia, Hollywood mas- seuse.
"Personally I adore old-fashioned bustles." — Norma Shearer.
"Today, legs are hard- ly a novelty, and the fe- male form is subject of only minor interest." — Film trade journal.
(Please turn to page 99)
The- New Movie Magazine, January, 1933
49
Radio Rambles
Photographs taken exclusively lor Neio Movie by Wide World
Eddie Duchin, of the Central Park Casino, pianist
of sophisticated melodies, who has come rapidly to
the front in the world of radio.
At work and at play with the stars you hear over the air
SO far as we can determine the one and only game commissioner on the air is that genial yet impressive authority on dogs, the veteran writer, Albert Payson Terhune of New Jersey — a massive man of mellow dignity, friend of the late Richard Harding Davis and a noted newspaper reporter in the old days of The World. He stands about six feet four and is a rugged two hundred and twenty pounder.
The other day little Vivian Block, the Maud of Mr. Tarkington's "Maud and Cousin Bill," aged ten and some three or four feet shorter than Mr. Terhune, happened to come into the studio where he was rehears- ing. Her reply upon being introduced was not the con- ventional "How are you?" Bending her head way back in order to get a full view, she candidly inquired :
"How old are you?"
"Just guess," laughed Terhune, "but don't be too rough on an old man."
Vivian paused for a second and then ventured a hesitating guess of what to her was a pretty big figure.
"Twenty-five or maybe thirty-five," she said.
N. B. Mr. Terhune will be fifty-nine this year.
Mr. Cobb's Remark: His city editor on The New York World was the famous hire-and-fire-'em Chapin, who recently died in Sing Sing where he was a lifer. And it was while Mr. Terhune and Irvin Cobb were reporters together that someone phoned from Mr. Chapin's home to the city room to say that Mr. Chapin could not be in that day owing to illness.
Myrt and Marge (Myrtle Vail and Donna Damerel), mother and daughter, who were known to vaudeville as a "sister act." Out of a job, they conceived a radio act, walked into William Wrig- ley's office past secretaries and office boys, and sold it to him. They were an instant radio hit.
Aileen Stanley, vaudeville and
phonograph recording singer, not
long known to radio, but already
an established favorite.
50
^J^,
Mr. and Mrs. Goodman Ace, better known as The Easy Aces, a comedy team that has hit the public right be- tween the — er-r — ears. Mr. Ace, when not writing his own material, writes "gags" for other acts.
The New Movie Magazine, January, 1933
George Hicks, the boy from the Northwest who made good in the big radio city as an announcer, and his bride, doing the honey- moon housework together.
' 1
"Nothing trivial, I trust," was Mr. Cobb's immortal comment.
We'll Bring Suit: You've heard the wheeze one of the radio comedians pulled about the man who was wear- ing a suit which was much too big for him. To a chance acquaintance who commented on the oversized ensemble the man replied :
"I know it's too big. But it fits me back home." "Fits you back home. What do you mean?" "Well, I'm a bigger man back home than I am here."
Radio Drama: To us Ben Bernie's dash East to the bedside of his dying mother was the basis of one of the most dramatic radio stories of all time. When the Old Maestro reached New York he saw that he would have to cancel his broadcast, for there was not time to call his boys from Chicago. Then it was that smiling George Olsen showed the sincerity of the friendliness behind his notorious grin. George gave Ben his own band for the broadcast that night.
The saddened Old Maestro was true to the tradition of stage and radio. In spite of his mother's death at noon that day Ben did his broadcast — gags and all.
Knowing how fond Maestro Ben was of his mother we realize what it must have meant. On more than one occasion he mentioned her courage in the face of al- most insurmountable odds — {Please turn to page 86)
Arthur Tracy, who is better known as the Street Singer, really does sing in the streets. No foolin', and no publicity stunt, either. He just likes to sing when he wants to sing, and wherever he is he simply sings, for pay or merely for praise.
This shows the Four Mills Brothers in a scene from Paramount's "The Big Broad- cast." They're from Piqua, Ohio, worked in a barber shop, will put on a band con- cert without instruments, and are one of the biggest hit acts in radio.
The New Movie Magazine, January, 1933
51
Music of the Sound Screen
Short features take the lead in providing music for the
new films. Morton Downey, Bebe Daniels, Dick Powell,
Russ Columbo and others will sing on the screen
By JOHN EDGAR WEIR
THAT music in the films is gaining can be seen from the large number of pictures that will have either star singers or famous orchestras in forthcoming productions.
While most of these will be among the short featurettes, there are two large productions with important musical numbers. One of these, Warner Brothers-First National's "Forty-Second Street," will feature the lovely-voiced Bebe Daniels and that new crooning sensation of the screen, Dick Powell. This picture also marks the movie debut of Al Jolson's wife, Ruby Keeler. In a later picture, tentatively titled "Radio Girl," Bebe will play the singing lead.
TN the short feature field, there are many and diverse -*- roles and orchestration parts.
Morton Downey will appear in a series to be released Universal under the general title of "Morton Downey and Composers." The orchestras used in these will be the Lopez and the Jacques Renard organizations.
Other series in preparation will include songs by the Sisters, Arthur Tracy, the Street Singer, Art Jarrett. Rogers, Leo Reisman and Mildred Bailey.
singing
through Famous Vincent
Boswell Buddy
OUSS COLUMBO, too, has been ^ signed by Vitaphone to make a series of two-reelers. Radio Pictures have (Please turn to page 80)
The golden-voiced Mor- ton Downey will soon be heard in a new series of singing two-reel pictures. Lopez orchestra and the Jacques Renard orches- tra will play the back- ground music.
"EVERYONE SAYS I LOVE YOU"
— played by Isham Jones and his Orchestra
"SAY IT ISN'T SO"
— played by George Olsen and his Orchestra
"PU— LEEZE, MISTER HEMINGWAY"
— played by Guy Lombardo and his Royal Canadians
"HOT AND ANXIOUS"
— played by Don Redman and his Orchestra
Dick Powell, newest crooning find, will be heard in Warner Brothers- First National's "Forty-Second Street." Bebe Daniels, below, one of the first stars to sing in pictures, has singing roles in "Forty-Second Street" and "Radio Girl."
52
The Neiv Movie Magazine, January, 1933
Afraid to talk? Looking at these two, you'd not believe they needed words to express their feelings. Nevertheless, they are Sidney Fox and Eric Linden in a scene from "Afraid to Talk," Uni- versal's expose of corrupt politics, some- times known as "Merry-Go-Round."
Photo hy Frculich
The New Movie Magazine, January, 1933
53
NEW PICTURES YOU
"Cavalcade," which Fox Pictures expect to have ready tor New Year's Eve release, will be one of the biggest spectacles of the year. The large cast is headed by Clive Brook and Diana Wynyard.
C
AVALCADE— (Fox) — Few
people imagined that it would be Noel Coward who would write the great play based upon British history. Cow- ard was more of the playboy, the writer of pretty tunes and spark- ling dialogue, yet it happened, and in "Cavalcade" he has unfolded the glamorous history of the Em- pire upon which the sun never sets.
Frank Lloyd, an American, di- rected it and put into it all the movement that made "Intolerance" great, but while "Intolerance" dealt with dead ages, this show deals with events that happened in the memory of man, of brave days the shadow of which has not passed and of moments that we fondly hope will not cloud our dreams and fears again.
Through the highspots of British endeavor we follow one family. They, in common with their Em- pire, advance. Their history is their nation's, their sorrow hers. Clive Brook, stirred possibly by patriotism, acts as he has never done before. Diana Wynyard and Beryl Mercer give memorable per- formances, yet it is not just one person nor one scene that holds your attention. It is the whole, a mighty throbbing drama of achieve- ment leavened with sorrow and dismay. Mr. Coward has done well, and Fox Pictures have done exceedingly well by Mr. Coward.
The National Digest of the Best Talking Pictures
(Above) Paramount's "Evenings for Sale," with Sari Maritza and Herbert Marshall, is an amusing gigolo farce, planned for January release. Charles Ruggles and Mr. Marshall form a combination that may develop into a team. Together, they are excellent.
(Right) Unusual and beautiful sets mark the M-G-M presentation of "The Mask of Fu Manchu." Karloff, borrowed from Universal, plays the leading role, and Lewis Stone is the Nayland Smith.
54
The New Movie Magazine, January, 1933
SHOULD SEE and WHY
NEW MOVIE RECOMMENDS
According to us, the best picture of the month is "Cavalcade," for the sheer sweeping power and bril- liance of its story and production. And don't miss these: "Flesh," with Wally Beery; "Call Her Savage," with a better and more competent Clara Bow; "The Mask of Fu Man- chu," with Boris Karloff achieving oral greatness; "The Mummy," with the same skillful artist; "Evenings for Sale"; "42nd Street," a musical show with thrills and story; "No Other Woman," with Irene Dunne; "Frisco Jenny," Ruth Chatterton at her best.
(Left) "Call Her Savage," the Fox picture which marks the
return of Clara Bow to the talkies, is from the popular
book by Tiffany Thayer. Monroe Owsley, also shown here,
is on the comeback route.
(Below) If you thrilled to Wally Beery as the fighter in
"The Champ," you will like him even better as the wrestling
champion in "Flesh." Karen Morley, one of M-G-M's best
charmers, plays the heart interest.
(Left) "42nd Street," a musical with Broadway background, will be one of Warner Brothers' biggest pictures of the year. Look closely at this picture and you will recognize some of the cast: George Brent, Warner Baxter, Ned Sparks, Bebe Daniels, Allan Jen- kins, Elliot Nugent, Ruby Keefer, Una Merkel, George Stone, Ginger Rogers and Guy Kibbee.
FLESH (M-G-M) — Why didn't someone think of this before? Wally Beery, with grin and stomach more in evidence than ever, as a beer-garden waiter who becomes the wrestling champ — with the help of God, the newspapers and Ricardo Cortez who manages him, and how.
The New Movie Magazine, January, 1933
55
The National Digest of the Best Talking Pictures
(Above) Lili Damita, who used to spell her first name with the "y," and Charles Morton play the leads in the RKO picture, "Goldie Gets Along."
(Left) "Nagana," has its locale in the
tsetse-fly territory of Africa. Tala
Birell, the Viennese beauty, and Mel-
vyn Douglas play the leads.
If there is a better story idea for Beery, please trot it out, and if you have more fun seeing it than you'll have seeing "Flesh," you'll have the best time of your lives.
Beery is swell. As an amorous wrestler he makes you forget the lovable roughneck of "Min and Bill" and the bombastic petty officer of "Hell Divers." Put this one, definitely, on the list of shows to see.
Ricardo Cortez and Karen Mor- ley are in support of Beery with the smooth and silky Miss Morley supplying the heart-throbs for the champ. This alone, is well worth seeing.
pALL HER SAVAGE— (Fox) — ^ We have a job on our hands. If Clara Bow used to be the "It" girl, we've got to find something bigger and better now. "Call Her Savage" brings to the screen a new Clara Bow who is far more competent and much more beauti- ful than our old favorite.
The tomboy has grown up into a woman and you had better watch the boy-friend for a tip-off
(Right) When Edward G. Robinson
walked out of "Employees Entrance,"
Warren William walked right in.
Loretta Young is the girl.
(Below) Spencer Tracy is again a
hardboiled "cop" in the Fox picture,
"Pier 13," with Joan Bennett.
on how the men are going to go about taking back their old sweetheart. As far as I'm concerned the new Clara is worth a dozen of the old.
Tiffany Thayer's story made a swell vehicle for her comeback; also for Estelle Taylor, in the mother role, who for a few scenes, succeeds in stealing the picture from the star.
By the way, be prepared to see a new record for villainy set by Monroe Owsley. It's a pity that we don't see this sterling player more often.
See the picture, by all means, and you had better
56
The New Movie Magazine, January, 1933
The National Digest of the Best Talking Pictures
i
(Right) The fiery Lupe Velez and the versatile Lee Tracy combine their talents
in "Phantom Fame," an RKO-Radio picture, to make realistic the story of
an imaginative press agent and a bogus princess.
(Below) The ancient lore of Egypt, and the occult powers of the forgotten race, are ably presented in "The Mummy," a Universal picture starring Boris Karloff. Zita Johann, shown here has the leading feminine role.
(Below) When suave William Powell es- says the role of a brilliant trial lawyer, you may be sure of an excellent perform- ance. He is aided by that blond charmer, Joan Blondell, and the picture is Warner's "Lawyer Man."
get set to like its star . . . 'cause Clara has come back to stay . . . and you can take our word for it.
THE MASK OF FU MANCHU— (M-G-M) — Prepare yourselves to see the real "Fu Manchu." Sax Rohmer should thank Boris Karloff from the bottom of his heart for bringing his famous "Asiatic Men- ace" really to life.
"The Mask of Fu Manchu" car- ries a lot more story value than the usual story but it is Karloff, and Karloff alone, who places this particular one on a pinnacle that will be all its own until the same player decides to do better.
Frankly, your reviewer likes this sort of story, and never have I en- joyed a picture more. Not only is Boris Karloff a treat for jaded picture tastes, but the cast is well worthy of a super-special, whatever that actually is. Count 'em, each one of them has been starred re- cently in a major production and there we have them in a picture that is the answer to a mystery lover's prayer.
Charles Starrett, Myrna Loy, Karen Morley, Lewis Stone, Jean Hersholt, David Torrence and Law- rence Grant. Usually you don't get that many in a double feature.
np HE MUMMY— (Universal)— Your -*- reviewer is going to duck right out from under this one and tell
(Right) William ("Bill") Haines, shown here with Madge Evans, is back in the talkies again in a speed-boat picture, titled "Let's Go." Conrad Nagel and Cliff Edwards are also in the cast.
you frankly that he "doesn't know how." Maybe you've guessed that already.
Anyhow, for sheer gruesome terror, "The Mummy" leads the field by a mile. Like "Franken- stein" its story is hardly possible,
The New Movie Magazine, January, 1933
57
The National Digest of the Best Talking Pictures
(Above) Bette Davis, Douglas Fairbanks, Jr., and
Frank McHugh, in a scene from Doug's latest picture,
"Parachute Jumper," a Warner production.
(Left) "Frisco Jenny," Chatterton's latest picture, was previously titled "Common Ground."
but that does not save the on- looker from the most chilling series of shivers, up the spine and other odds and ends that this re- viewer has ever run across.
If you enjoyed "Frankenstein," see it by all means, for this show begins where that one finished. Maybe you should see it anyway for it is the most compelling story of the year and is extremely well produced.
Boris Karloff, who, apart from this or any other show, has earned a position very near the top of competent actors, is superb as the man who cannot let the mummied bodies of the ancient Egyptians rest in their tombs.
(Above) Charles Bickford and Irene Dunne, shown here, play the leads in the RKO-Radio picture, "Just a Woman," a story of the life of a rising young American family.
(Left) Donald Cook and Mae Clarke, play the romantic leads in RKO- Radio's "The Penguin Pool Murder." Edna May Oliver, James Gleason and Robert Armstrong head the cast.
(Right) You are always assured of a swashbuckling western when George O'Brien heads the cast and "Robbers Roost" is no exception. Maureen O'Sullivan, M-G-M lass, assists George in this Fox picture from the Zane Grey novel.
58
The New Movie Magazine, January, 1933
The National Digest of the Best Talking Pictures
Curses, sudden death and weird and wonderful chemical transfigura- tions leap at you from right and left and if you haven't had enough thrills by the end of the last reel, you need something more than a movie.
Better hang on to the boy friend's arm.
tpVENINGS FOR SALE— (Para- *-* mount) — Don't let the title fool you. You may not like this one, but your reviewer wishes to break right down and admit that he did. If you like to laugh, it's in the bag. Not big hearty laughs maybe, but swell little chuckles that start in the first
(Left) Stuart Erwin and Alison Skip- worth in a scene from Paramount's. "He Learned About Women."
(Right) "Second-Hand Wife," a Fox picture, is another story of the misunderstood big business man. Ralph Bellamy, and Sally Eilers, play the leads.
reel and run right through till the end.
It's rather in the Lubitsch man- ner, though a trifle more down to the ground. Charlie Ruggles and Herbert Marshall are cast as two gigolos. Mary Boland and Sari Maritza are the women in the case and if you recognize the cast, I ought to have sold you the show by now. Anyhow, I recom- mend this one as a very swell eve- ning's fun.
Charlie Ruggles and Mary Bo- land form a team we are going to see much oftener . . . and I hope we do.
UORTY-SECOND STREET— (First " National) — This was to be War- ner's "Grand Hotel" but, somehow, it got lost in the shuffle and has turned up as a pretty good dramatic musical that will entertain if you like this sort of thing.
What a story there is to tell down those four or five blocks that make up "42nd Street." Everything goes, everything happens in these few hundred yards; lives are altered and played out with no one the wiser; throngs scurry past all day and a man may lie upstairs without a friend — with maybe a bullet in his body. That's 42nd Street, and I think it's rather a shame they didn't make it as they planned. With great stars ... it would be a story to re- member . . . that is ... if they took the trouble to find it out.
As it is, it's probably the best musical show of the year. The cast is well worth seeing, even though (Please turn to page 97)
(Above) Charles ("Chic") Sale, Bill Boyd and Dorothy
Wilson, in a scene from "Men of America," an original
screen story produced by RKO-Radio.
(Above, right) Onslow Stevens and Janet Chandler, Fox
beauty, play the leads in the Fox picture, "Born to Fight,"
a romance of the Wyoming wilderness.
(Right) "The Wax Museum," an unusual and slightly gruesome picture made from the play, by Warner Brothers, has Lionel Atwill and Fay Wray in the cast.
The New Movie Magazine, January, 1933
59
No prairie ever saw the exotic coral feather flowers circling this smart black velvet beret worn by Helen Vinson, charming Warner Brothers-First National player. The velvet is shirred up to a quaint peak at the back and a stiff cir- cular veil adds a piquant note.
HAT TIPS
From the winter selections of Hollywood actresses
Velvet combines with malines to show off the blond locks of Bette Davis, Warner Brothers-First Na- tional player. Tiny puffings of the velvet are appliqued onto the malines in a simple design. A bril- liant clip is the only trimming.
Ensembling for Bette Davis is an entrancing business. This time she's matched her collar to her cap. Woven of beige silk and wool thread both hat and collar are trimmed with brown, henna and green lacings. Miss Davis wears this ensemble with a brown dress.
60
Black galyak changes place with felt, and appears as the founda- tion of a smart little afternoon turban for Bette Davis with the felt in the role of trimming material. Part of the side crown is fagotted to show the hair, while the bow is posed high on the left side.
The New Movie Magazine, January, 1933
,
The New Movie Magazine, January, 1933
61
Joan Crawford, who has developed herself into the most striking type on the screen today, tells how she did it and how you can do it
You Can Change Your Personality
OAN CRAWFORD has caused nation-wide discussion of
T
^J make-up. She has accom- plished more startling tran- sitions with sheer make-up than any other one screen or stage star.
Once, she was a pretty, some girl, with a face and much like any other girl's and body. Now, she is the
win- body
face most
exotic, daringly different figure on the screen.
Joan was criticized severely for her make-up in "Letty Lynton," and again in "Rain," but she says, "I still think girls like Letty Lynton and Sadie Thompson would have looked as I looked. So in my next picture I think I shall make up like Pollyanna, or I shall leave all make-up off. Then they will say, "doesn't she look per- fectly terrible?"
"After all, how can we please everyone? I have experimented and have been ex- perimenting with make-up for a long time — and I am not satisfied yet. Perhaps, when I feel happy about it myself, my critics will too; I hope so.
"I believe any girl can build a personality for her- self with make-up. But, she should be, oh so careful not to select a make-up that conflicts with her features. And once she has determined on the make-up she wishes to assume she must live up to it diligently!
62
By ANN BOYD
Here's Joan in the days when she was Lucille Le Sueur, pretty but undistinguished — and unsuccessful. Above you see her as she is today, smart, fascinating, and the most daringly different figure on the screen today.
"If she wishes to assume a new personality, to be strikingly dif- ferent, all very well, but she must not forget to live up to this make- up if she is to ring true and 'get by' with it. No girl, for instance, should make up with a definite flair for the daring and different and then remain a little church mouse in personality. Nothing could be worse than that!
"She must make a deep study of what personality she wishes to assume, and then a deeper study of the make-up to fit this personality. The make-up and the personality must harmonize and feel 'right' to the individual.
"The best way to make a study of make-up on your- self would be to take pictures of yourself from every angle. Do this until you think it looks right, and then cultivate the personality that goes with such a make-up. Everyone has a kodak and {Please turn to page 85)
The New Movie Magazine, January, 1933
Ernest A. Bachracli photo
Frightened
Silent Katharine Hepburn, newest screen sensa- tion, isn't really silent — she's just afraid to talk
OH, Boy! Wouldn't we like to get Katharine Hepburn alone in a haunted house. She would be more fun than a barrel of ghosts — because she has reached the stage where she is scared of her own voice. And all (may your children be cotton-pickers if you don't believe us) because Kath- arine has been frightened out of her wits by the very people who wanted to protect her. It's a long story and a sweet one. We found out about it when we went to see Katharine on her return from Europe.
A man met us outside the room where Katharine was waiting.
"She may not talk," he said in a hushed voice.
The Neiv Movie Magazine, January, 1933
"Eh?" We perked up our ears. "Show us any woman who won't talk!" we challenged.
"Well," he sighed, "she hasn't talked to any one so far. See what you can do."
We went in expecting Garbo in disguise after that warning — but instead we saw a snub-nosed young girl with a sprinkling of pale freckles stretching de- fiantly across her smooth skin. Her mouth was long and thin and set in a scarlet line. She looked as if she was undecided whether to tremble or to bite and decided to tremble as we must not have looked good enough to bite.
"I won't say anything," she popped out. "I'm just warning you."
We didn't answer. We just grinned, because when a girl as nice as Katharine Hepburn says she hasn't anything to say, it means she is boiling over and dying simply to talk. {Please turn to page 92)
63
PLAYTIME
Come on, let's go to some of the liveliest Hollywood parties — with
GRACE KINGSLEY
Jeanette MacDonald, Wallace Beery and Lily
Pons, the grand opera singer, for whom Miss
MacDonald gave a party the other day.
(Right) Eddie Sutherland, the director, Audrey
Henderson, Estelle Taylor and John Warburton,
the English actor, at the house-warming which
Mr. Warburton gave.
64
W!
'HEN an irresistible light opera singer meets an immovable grand opera singer, what usually happens is a crash," remarked Ramon Novarro, "but Lily Pons and Jeanette Mac- Donald aren't like that at all, as you can see for your- self. It's not a social crash, but a social crush!"
Jeanette was busy just then being a radiant hostess, as she introduced her guests, in her beautiful Spanish home, to the fascinating and famous Lily Pons, guest of honor, in a white evening frock — white satin bodice draped softly yet tightly above her waist, and white flat crepe skirt. She wore a single orchid.
Our hostess was clad in a black satin princess gown with a cream Venetian point lace yoke, the yoke extend- ing down in insert points. She wore black satin slippers.
Wallace Beery was all aglow because Miss Pons was devoting herself to him. She was disappointed that he didn't speak French. She said she had always enjoyed him on the screen, and she insisted that he teach her some slang.
"I say 'O-kay' and 'Is zat so?' very nicely now, don't you think?" she inquired vivaciously.
Robert Ritchie, Jeanette's fiance, was there, devotedly aiding our hostess.
Colleen Moore was a glamorous figure in an evening gown of black milliner's velvet, made princess, with puffs at the shoulders, and Ginger Rogers was piquantly childish-looking in her flat crepe black gown, with wide, starched chiffon flounces falling from, the low, round neck.
Ginger, of course, was with Mervyn LeRoy, who in- sisted on my describing his costume. He said that his pants were cut on the bias and shirred down the back!
Colleen's husband, Albert Scott, joked Mervyn, say- ing he wouldn't permit Mervyn to have his picture taken until after he had had his blood transfusion, which got a laugh, since, though the young director has been in the hospital lately, he is looking husky enough now for anything.
Nancy Carroll wore sports clothes, a black ensemble of dull broadcloth and a little black hat perched jauntily on too of her saucy red curls.
WHEN HOLLYWOOD ENTERTAINS
The New Movie Magazine, January, 1933
!
All photographs taken exclusively for Kew Movie by Wide World
Ann Harding looked fetching, her blond beauty accentuated by her turquoise-blue silk gown, made princess, with deep pointed yoke in front, tight skirt and blue satin slippers with buckles.
We asked her about her airplaning, and she said, "No more airplaning for me!"
"Afraid?" we inquired in surprise.
"No — economy," she retorted. "I'd rather the air- plane companies bore the expense of my flying."
Claire Windsor — oh, wonder of wonders! — came all alone in her new little car, which she drove her- self. But she didn't remain alone long, being sur- rounded by men, as usual. She wore a black velvet dress, the bodice long, jacket effect, with black-and- white buttons down its front, while a Queen Anne collar of rose point, made high and brought to a point down the front, framed her gold-and-white beauty. The skirt was plain and tight. She wore a tiny toque of black velvet.
Claire confided to us that she may marry again within a year — says there are three men she likes — but she will wait to be sure and not make a mistake this time.
"I'm sure Bert and I (Please turn to page 101)
(At top) Another group at Jeanette MacDonald's party tor Lily Pons. Left to right (bottom row): Mervyn LeRoy, Ann Harding, Ernst Lubitsch, Wallace Beery. Second row: Miss MacDonald, Claire Windsor, Helen Hayes. Top row: Colleen Moore, Lily Pons and Ginger Rogers.
(Above) Ginger Rogers and Nancy Carroll, off in the cor- ner together, exchanging Hollywood secrets.
The New Movie Magazine, January, 1933
65
Jackie Cooper's Holiday Party
Jackie's parties are famous among Holly youngest set who never miss a chance to go to one
HOLLYWOOD is a party town and this is a party season, but there aren't any parties that are half so much fun as Jackie Cooper's parties, ac- cording to the film town's youngest set. So they'll all be on hand for Jackie's holiday party. Young Sidney Franklin, son of the director; Marilyn Walsh, daughter of Raoul ; Helen Parish, Ruth Nagel, Andy Shufford, who all attended his recent ninth birthday party, will be there along with the kids from the neigh- borhood gang.
Jackie's parties are like any other little boy's parties. Ice cream is a necessity, and chocolate layer cake a spe- cial request. In addition, fruit punch and salted almonds are on the party menu.
Put chocolate, water and shortening in mixing bowl, set in pan of hot water over fire until chocolate melts, beating until glossy. Remove from fire, add sugar, salt and flour, soda dissolved in sour milk, and mix well. Add eggs, un- beaten, and beat mixture vigorously for 2 minutes. Bake in two large or three medium layer cake pans in a moderate oven for about 20 minutes.
Two-Tone Icing
1 cup sugar 3A teaspoons vanilla
3 tablespoons water Confectioner's
1 egg white chocolate
Cook first three ingredients in double boiler ten min- utes, beating constantly with a wheel eggbeater. Re- move from fire, add flavoring, let cool slightly and spread. When cold, pour melted chocolate over it.
And here's Jackie's Fruit Punch:
Here's a recipe for Jackie's favorite chocolate cake :
4 squares (4 ounces) bitter chocolate
1 cup boiling water % cup shortening
2 cups sugar
yz teaspoon salt 2 cups flour
1 teaspoon soda y2 cup sour milk
2 eggs
1 quart water
2 cups chopped pine-
apple and juice */£ cup lemon juice
1 cup orange juice
2 cups ice water r4 cup lime juice
yz cup mixed cherries and grapes
66
Boil water and sugar together 2 minutes, add pine- apple. Then add fruit juice, let cool and strain. Chill before serving, add ice water. Add pineapple pulp, if desired, and cherries and grapes.
The New Movie Magazine, January, 1933
Card Party Prizes
Gifts and favors that your friends will be sure to like may be made at moderate cost with the aid of our new method circulars
\17"E'RE never too grown up to enjoy receiving a first prize when we ** win the game — or a consolation prize when we don't. And the ex- perienced hostess knows that guests are delighted with even the most inexpensive prize if it combines novelty and usefulness. If you have more money than time you can be sure to find charming little prizes at a nearby gift shop — but if you have time to spare you can make a variety of favors and prizes that are every bit as attractive.
In selecting your prizes it is a good plan to provide one for every four guests. Following this rule if you are giving a non-progressive bridge party there should be as many prizes as there are tables — to be given to those having highest scores at each table. If your party is pro- gressive you should give first and second prizes or first and consolation prizes for a party of eight; first, second and third, or first, second and consolation prizes for a party of twelve, while for a party of sixteen there should be first, second, third and consolation prizes.
Jal84— (Left) Here's a cellophane handbag for the winning lady, and a cellophane cigarette case for the man with the high- est score. You can make them both with the aid of this circular.
Ja 1 85— (Right) Eight balls of darning thread in assorted colors, scraps and card- board are the materials needed for this darning gadget. The circular gives directions for making.
Jal86 — Everybody is knit- ting and crocheting again — so everybody at the party will be pleased with this clever little yarn bag. Send for diagram pattern and directions.
For complete directions for obtaining patterns described here, please turn to page 80.
Jal87 — (Above) A first prize worth working for — a
crocheted jacket which can be worn for breakfast
in bed or for a dressing jacket in cooler weather.
You will find directions in this circular.
Jal88 — (Above) Crepe paper favors and boxes for bonbons and nuts give a festive note to your refreshment table at small cost. The circular gives directions for making three cases and favors.
Jfa
Jal89 — (Above) Coasters for glasses and pitcher made from heavy cro- chet cotton are sure to please.
Ja 1 90— (Right) It's easy to take stitches in the kitchen when you hang one of these sewing kits on the wall.
The New Movie Magazine, January, 1933
67
Meet the Vampire
(Continued from 'page 40)
time he opened his mouth I automati- cally reached for my hat — until the whole thing took on the aspect of a first-class shambles!
We sat in one corner of the spacious living room and eyed each other sus- piciously. An innocent bystander would have concluded that we were playing a game, wherein the first one who said a word had to wash the dishes!
A temptingly beautiful grand piano graced the center of the room before the high French windows; and directly opposite was the enormous love couch, about which the mutual friend had told me so much (which isn't any of your business — so there!)
I was just beginning to be sorry I'd come when my unresponsive host was called to another part of the house by a respectfully insistent voice, and, excusing himself briefly, he strode out, leaving me to my own devices.
He was gone quite a while. But, as he hadn't taken any luggage, I knew he'd probably be back sometime. So I waited.
After about ten minutes of plain and fancy thumb-twiddling I began to look around for some other method of amus- ing myself.
It was a toss-up between the love couch and the piano. I could take a nap, or keep anybody else from taking one. The unerring penchant for mak- ing a nuisance of myself won out, and I sat down at the piano. Nobody laughed. I haven't clipped coupons all my life for nothing. (If you think you can clip coupons for nothing, you don't know your brokers.)
Now, I don't play good. Not good, but plenty loud. And my choice of selections included two Hungarian melodies, "Kis Angyalom" and "Lesz maga justzt is az enyem. . . ."
As the last note died away, I turned to face my host, who had silently re- turned. The change in him was al- most unbelievable. His face had softened and the pale eyes were bright and suspiciously wet. The music of his homeland had turned the trick. From that moment, we were friends.
BELA LUGOSI is extremely senti- mental about the land of his birth. . In his own element, at the Hungarian Club, I have seen tears on his cheeks, heard him sob like a child, at the haunt- ing, bittersweet melodies of his native land, played with all the primitive fierceness of the Magyars, by the gypsy orchestra.
Temperamental — and with the keen sensitiveness of the true artist — he seems pathetically out of place in the mad whirligig of light and color that is Hollywood.
His natural reticence mistaken for unsociability, Lugosi is a lone wolf. And his very loneliness lends him an air of sinister mystery, upon which the ladies and gentlemen of the press have pounced with diabolic glee.
If you could know the real Lugosi — if you could see him as he romps with his beloved dogs; listen to him as he speaks, reverently, of the land that fostered him — .you would be amazed at the gentle philosophy of the genius who created fiendish Dracula.
More than anything else, he deplores the fates that have destined him to eternal fiendishness.
Sally herself! Eilers is the last name, please, and one of Hollywood's social favorites. This is Sally, snapped by our own itinerant cameraman as he wan- dered about the Fox studios.
"In Budapest, he said, "and in New York, I played nothing but romantic roles, until Dracula typed me, ap- parently, forever."
BELA LUGOSI is one of the real actors in the profession. Inno- cently enough I made the horrible mis- take of questioning his original inten- tions.
"What were you," I asked, "before becoming an actor?"
He drew himself up. "I am an ac- tor!" he said stiffly.
"I heard you the third time," I as- sured him soothingly. "But, I re- peat . . ."
"In Hungary," he relaxed a trifle in the face of my colossal ignorance, "we are trained for the profession from
childhood. We have academies that specialize in the art, and we study for it, as your American men study to be doctors, lawyers, etc."
Which isn't a bad idea at all. Al- though a few of our American contem- poraries who served their apprentice- ship behind the wheel of a truck, or on the business end of a shovel, are doing nicely, thank you.
Lugosi's love affairs have been many and varied — characterizing the emo- tional intensity so typical of the true Continental. But he prefers not to speak of them.
"That part of my life is my own," he explained, not unkindly. "My ro- mances have been the subject of much publicity. Oftener than not, the press reports have been more fictional than otherwise. I prefer not to discuss it."
So — you nosey little mugs — if you would know the "lowdown" on his hec- tic romance with the Brooklyn Bon- fire, or the truth about his two unfor- tunate marriages — you'll have to con- tent yourselves with reading up the back numbers of the good old tabloids.
WHILE refusing to discuss his ro- mantic adventures, Lugosi makes no secret of his love for his dogs. And it is a beautiful thing to behold. For they return his affection with a wor- shipful adoration, a faithful devotion, that the lonely man has not found in human relationship.
When he is talking they lie quietly at his feet, following his every gesture with approving eyes. But let him rise and move across the room, and they are on him like a flash, leaping at him, barking joyously, begging, dog fash- ion, for a romp.
Dracula, a beautiful Doberman — whose evil eyes and strikingly sinister appearance are strongly suggestive of the fantastic being for which it was named^is his favorite.
She had recently starred in a canine Blessed Event, and Lugosi led me down to the kennel to inspect the pedigreed progeny.
Perfectly marked, the eight puppies were identical, miniature carbon copies of their sleek, graceful mother.
Lugosi's approach was the signal for a mass attack. Yelping joyously, the.y surrounded him, tails wagging furi- ously ... all eight of 'em!
Laughing happily, the Master Fiend went down on his knees, arms out- stretched to encircle them all. And they mussed his hair, tugged at his tie, left multiple dusty smudges on his immaculate white flannels, while they yelped madly in concert.
I watched the scene in amazement. And, as I watched, Lugosi raised a strangely transfigured face to mine.
"My family!" he cried joyously.
An unexplainable emotion gripped me. Where was the fiend in human form? . . . the diabolical Dracula? . . . Surely, not here . . . not this happy man who murmured gentle endearments to a flock of mauling puppies ?
I left him there. It was a beautiful picture to carry away with me.
Mysterious? Sinister? Don't you believe it!
The evil shadows had fallen away, and I had seen the real Lugosi. Genial, sincere, and — sadly enough — misunder- stood . . . and lonely.
68
The New Movie Magazine, January, 1933
What Will Happen to the Movies in 1933?
(Continued from page 25)
make up, and more of that splendid acting of which you are so capable.
THE problem of finding suitable stories for Ann Harding has become so serious at RKO that she is now be- ing offered to other producers— but at $9,000 a week. Whether she is worth that much to another studio is a mat- ter of opinion. Certainly her box office value hasn't increased in the past year. The brilliancy of characterization that she displayed in "Holiday" has been smothered in such failures as "Pres- tige" and "Westward Passage."
Trying to give her a false glamor by dolling her up in the most ultra clothes hasn't helped either. She isn't the type. In desperation the studio has teamed her with Richard Dix in "The Conquerors," an outdoor epic, and have bought the Charles Morgan novel, "The Fountain," as a future starring vehicle. Her contract will be up this year, and then perhaps she will return to the stage.
Gloria Swanson is making a picture in England, and having her troubles as usual. Swanson's career is in a state of chaos, and ironically enough her pic- ture, called "Perfect Understanding," will decide the fate of her future as a screen star. Tallulah Bankhead has had nothing but bad pictures. Her screen career so far has been a jinx. She has made her last picture for Par- amount and has completed "Faithless" at M-G-M, in which she is co-starred with Robert Montgomery. If she doesn't sign a contract with M-G-M she will accept an offer to do a play in New York — but the bets are on that she re- mains under the banner of Leo, the Lion. Helen Twelvetrees doesn't stand up under star billing. Billie Dove low- ered her colors when she accepted a sub- ordinate role in "Blondie of the Fol- lies." John Gilbert has done his last picture at M-G-M. Dolores Del Rio failed to make that big comeback in "The Bird of Paradise" and Ramon Novarro needs a strong role to redeem the weak ones that have been his lot.
ON the other hand good parts have helped to establish such players as Irene Dunne, Helen Hayes, Charles Laughton, Warren William, George Raft and Eric Linden as prime favor- ites for the new year. Irene Dunne, by her work alone in "Back Street," de- serves to be among the great. A true artist. She should be one of the big- gest stars in the business this coming year. Helen Hayes' march to screen fame with but two roles to her credit proves the hold she Las on the public already. This year you will see her in Ernest Hemingway's "A Farewell to Arms" with Gary Cooper and in "The White Sister." It is thought too that she will be awarded the Katharine Cor- nell role in "The Barretts of Wimpole Street." With such magnificent oppor- tunities she will have established her- self so firmly by the end of the year that she might become queen of the in- dustry in 1934.
We have all, as a whole, tired of the sex and gangster cycle. Things are slowly swinging back to the normal,
Haven't heard much of Arline Judge lately, but you'll hear a lot of her dur- ing 1933. Because, being married to Director Wes Ruggles isn't going to stop a career that's virtually a natural. Keep your eye on charming Arline.
beautiful types of womanhood that Helen Hayes plays; Helen Hayes who is Mary Pickford become a woman. If only Miss Hayes will not permit the studio experts to make her too beauti- ful. Already stills of her are appear- ing in the magazines in which she is so beautiful that she is hardly recog- nizable. Her charm lies in her sim- plicity— in her great ability to project inner beauty. Fans, back me up, and tell Helen Hayes not to follow in the footsteps of Chatterton, who sacrificed ability to the god of vanity.
Charles Laughton, the English stage favorite, who plays Nero in Cecil De Mille's "The Sign of the Cross," is hailed as another Emil Jannings in Hollywood. Through his work in but one picture, "The Devil and the Deep," he has won the esteem of all the critics, and the deep admiration of a public that appreciates fine acting.
Warren William has already been elevated to stardom by Warner Broth- ers. When you see his pictures in 1933 you will find his name over the title. A vital personality, he is sure to build a large following for himself. George
Raft, signed by Paramount after his outstanding performance in "Scar- face," stands in danger of being rushed into a stardom for which he is not ready. Raft, by his own admission, is not a great actor, unless the role hap- pens to fit. In his first important pic- ture, "Night After Night," those two old troupers, Alison Skipworth and Mae West ran off with practically all of the honors. A cobra-like per- son, he would do much better in sup- porting roles. Paramount announces however, that they will star him in "Under Cover" with Nancy Carroll and in "Bodyguard." Eric Linden seemed at the time of the release of "Are These Our Children?" to be the best character juvenile of the talking screen. But repetition of roles have retarded his progress. In "Life Begins" he again shows that brilliant promise of his first film. If he can learn to wear his laurels gracefully he might become a great young character star. But already he is losing his sense of balance, and a splendid career seems in danger of collapse.
AND what, you ask, is to become of such old timers as Mary Pickford, Douglas Fairbanks, John Barrymore, Norma Shearer, Charlie Chaplin, Har- old Lloyd, Ronald Colman and William Powell, during 1933, when the honor rolls of screenland are crowded with new names, taxed to capacity with flaming new personalities that dim the lustre of the old? After all, there is only so much room at the top.
Mary Pickford is planning to make the long awaited "Yes, John" this year. Mary Pickford, to me, and t) millions of others, is an ideal that will never die. I hope she makes the grade. God knows she deserves to. After all, the screen is her life. She has con- tributed more great moments to mo- tion pictures than any other actress. There is talk that she will definitely re- tire this year, and that would be a sad loss, a void that can never be filled by any other actress. One Pickford and one Garbo!
Douglas Fairbanks will go to China to film a travelogue fantasy of the sun kingdom. He, too, has become a fixture — a part of motion pictures — and his absence would be like the stars without a moon.
John Barrymore is gradually drift- ing into character roles. He seems no longer to care for the title of star. He would steal the picture anyway, even if it were only a bit. During the year he will alternate between Metro-Gold- wyn and Radio pictures. For M-G-M he has completed "Rasputin" in which he shares honors with Lionel and Ethel. Later he will play Alfred Lunt's role in the picture version of "Reunion In Vienna" at this studio. At Radio he is scheduled to star in "Topaze" from the Broadway play, and in Somerset Maugham's great novel, "The Moon and Sixpence." "A Bill of Divorce- ment," which he made with Billie Burke, won't do him any harm either.
Norma Shearer, always a wise actress, and a competent one, fore- (Please turn to page 70)
The New Movie Magazine, January, 1933
69
What Will Happen to the Movies in 1933?
sees the trend of the return to a more wholesome type of picture. Discarding the sexy roles she has been playing for the past two years she completed "Smilin' Through" and will make other pictures of the same type. She may do "The Education of a Princess" be- fore the end of the year. Her popu- larity is assured for another year. She always gives the fans what they want.
Charlie Chaplin is back in Hollywood after a long absence, but he doesn't seem to be doing anything about mak- ing a picture. At present all his ac- tivity is wrapped up in attentions to the platinum-haired Paulette God- dard. Don't be surprised if they're married before the twelve months are up. If he does make a picture he probably wouldn't finish it before 1935 ... so don't count on Chaplin for 1933.
Harold Lloyd's new picture, "Movie Crazy," will be playing your theater by the time this is in print. You will agree with me that it is one of his best. He will soon have another picture in pro- duction, and it is believed that he will become associated with United Artists, as he has already moved his offices to that lot.
Colman's new picture, "Cynara" is now being released, and his next pic- ture, "The Masquerader," from the Guy Bates Post play, is ready for the cameras. William Powell's contract with Warner Brothers will be up this year. Warren William's success on that lot hasn't helped Powell. Maybe he'll accompany his pal, Colman, to England? Powell, like Adolphe Men- jou, can always get a job in Hollywood — maybe not a starring job, but a two thousand dollar a week salary anyway.
SPEAKING of retirements, don't be surprised if Marlene Dietrich packs bag and baggage and retreats to Ger- many. She has only one more picture to make^ on her Paramount contract. When "Hurricane" is completed she will be free, and so will her director and discoverer, Josef von Sternberg, who has an offer from Ufa to go to Germany as the ace director for that company.
Whether Marlene will continue in pictures at all is a question. More so than Garbo she is really tired of it all.
Marie Dressier may be forced to give up her screen career because of the ill health she has been suffering. She hasn't worked in months. M-G-M has "Tug Boat Annie" scheduled for her and Wally Beery, hoping to repeat the success of "Min and Bill," and also a story by Frances Marion called "Old Girl." Millions of fans are praying for Miss Dressler's speedy recovery. Her pictures are awaited probably with more eagerness than any other star's. By an exhibitors' vote she has been acclaimed the most popular box-office star in the United States.
Constance Bennett, too, talks of re- tirement to a villa on the Riviera with the marquis. Her contract at RKO will run out by the end of the year. And it appears that her popularity may do likewise. The sameness of her pic- tures is boomeranging against her. Ernest Hemingway's popular novel,
(Continued from page 69)
"The Sun Also Rises," will be one of her pictures.
If there are to be retirements there will also be comebacks. In fact 1933 will be a year of comebacks for old favorites. Clara Bow will perhaps stage the most sensational comeback with her first Fox picture, "Call Her Savage," and her leading man in this, Gilbert Roland, will regain the secure standing that was once his. Colleen Moore has an M-G-M contract. She may do "Peg O' My Heart." James Murray has been made Ruth Chatterton's lead- ing man in her new picture, "Frisco Jenny." Al Jolson is back in a big way. Anna Q. Nilsson is making tests at Metro-Goldwyn. Buddy Rogers is reported signing there too. Renee Adoree, her health recovered, is shop- ping around for a great comeback part. Barry Norton is testing at RKO for a big role that may yet reestablish him to that high place he so richly de- serves. Alice White has a new First
Cecil B. DeMille directing "The Sign of the Cross," probably the hardest directorial assignment of the year be- cause of the massive settings and great crowds of extras involved.
National contract. Bow and White! It's like old times. Alice Joyce, lovelier than ever, is around. Pearl White is coming from Paris. Nita Naldi is in New York, and reported headed for Hollywood. The more the merrier!
EVERY year has its dark horses. Last year there were Karen Morley, Ann Dvorak, Dorothy Wilson, Gloria Stuart, Eric Linden, Clark Gable and Boris Karloff. Shooting out of no- where to fame, three of these fortunate players have already achieved star- dom, and the others are on their way to the starry heights. Who will be the dark horses this year?
Looking into my crystal I can tell you to keep your eye on Katharine Hep- burn and Julie Haydon, both under contract to RKO. Both of these gifted girls are potential stars. Miss Hep- burn is from the New York stage. She plays John Barrymore's daughter in "A Bill of Divorcement," and is a sensa- tion. Julie Haydon who played around
the Little Theaters of Hollywood wait- ing for a chance at pictures is with- out a doubt the greatest undiscovered actress of this year. She has the same flair for dramatic acting as the late Jeanne Eagels. I can safely predict for her one of the most brilliant fu- tures of any girl in Hollywood. She's going places — high places — and noth- ing can stop her.
Claire Dodd is a surprise package. I caught a few glimpses of her as the snobbish society girl in "The Crooner" and came away impressed with this un- known. Now I understand Warner Brothers have bought her contract from Paramount, and she will be groomed for stardom.
Diana Wynyard ! There's a name to remember. This English beauty who scored so successfully in the New York play, "The Devil Passes," is John Barrymore's leading lady in "Ras- putin," and is playing opposite Clive Brook in the Fox spectacle, "Caval- cade." She returns to M-G-M, where she is under contract, to play opposite Barrymore again in "Reunion in Vi- enna," playing Lynn Fontanne's role. Lyda Roberti, the Polish blonde, who appears opposite Eddie Cantor in "The Kid from Spain," is going to sky- rocket to stardom.
Boots Mallory at Fox has astonished the executives with her ability in her first picture, "Walking Down Broad- way," and seems destined for an im- portant place on their roster of stars.
Kathleen Burke, Paramount's new "Panther Woman," looks as though she is going to cause quite a stir . . . And there will be others— many others, com- ing from everywhere and nowhere, to be transformed by that magician, Holly- wood, into motion picture stars.
Because of the new foreign quota laws there will be many importations from Europe. Lilian Harvey has signed with Fox. Charlotte Susa will emote for M-G-M. Anna Sten is Samuel Goldwyn's trump card for 1933. This young Russian is going to duplicate the success of Garbo. She has everything. Kathy Von Nagy of the Ufa company is reported signing with RKO. Gwili Andre has failed to materialize into another Garbo. Lil Dagover may be back. Pola Negri and Vilma Banky are likely to sign with Universal. Miss Banky is now making a picture for them in Germany.
Then there will be the unusual cycles. Last year we had a Gangster cycle, a Doctor cycle and a Grand Hotel cycle, which is carrying over into the new year. This year expect a Fashion cycle, a Rural cycle and Novelty pro- duction cycle with modified horror pictures.
In the Grand Hotel cycle will be "Employees' Entrance" at Warner Brothers, with a flock of stars. At Paramount they will make "If I Had a Million," also with a large cast of stars, and Fox is doing "State Fair."
You may expect the return of the vogue of The Latin lover. New Valen- tinos will spring up by the crop; dark- eyed youths with shiny ebony hair and olive skins. George Raft, Cary Grant and Ricardo Cortez lead the parade —
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The New Movie Magazine, January, 1933
but some unknown will capture the crown. There's going to be a new screen lover. Where he is coming from only heaven knows. But he'll be here.
NEW independent producers are go- ing to add a vast total to the num- ber of pictures made in 1933. It's go- ing to be the greatest year the inde- pendents have had since the old Bio- graph went busted. Such men as Jesse Lasky, B. P. Schulberg, Edward Small, Sam Bischoff, Felix Young and Charles Rogers have thrown their hats into the ring. It's going to be the kind of compe- tition that means great pictures.
Among the major producers the one who made the most progress during 1932 is Carl Laemmle, Jr., who, by clever daring and keen foresight, has brought his father's company to a posi- tion of prestige it has never before
had. A year ago Hollywood thought he was just a kid who had inherited an envied position. Today he is re- spected and feared. He sets a vogue and others follow. No one knows what he has up his sleeve. Maybe a "Frank- enstein" or a "Mummy" an "Airmail" or a "Once in a Lifetime." Universal is something to be reckoned with in the new year, thanks to the young Laem- mle. Then there is David Selznick who has lifted Radio pictures to a new high standard, Daryl Zannuck, still making successes for First National — and Irving Thalberg of Metro-Goldwyn, who remains The Master.
Things you may be sure of: Janet Gaynor's continued success, the sensa- tional debut of Ethel Barrymore in "Rasputin," a lovely performance from Sylvia Sidney as "Madame Butterfly," more musicals from Maurice Chevalier,
Johnny Weissmuller doing more "Tar- zans," the stardom of Clark Gable, and last but not least, a new, sensational star in the person of Mae West, the "Diamond Lil" of Broadway.
A ND so, Fans, we bury the old year ■f*- in a shroud of forget-me-nots, for it has taught us much that is worth re- membering; given us a new sense of values and a new insight into the heart of Hollywood. We have seen the mighty fall and the courageous tri- umph. We have witnessed stars in Rolls Royces, without contracts, and not a slice of bread in the cupboard. We have seen much — and were it not so tragic it might have been comical. But that is all over now. That pros- perity corner is winding itself right around our necks. Leap-years were al- ways a little upheavalish anyway.
The Success Blues
Babe Ruth of the pie-throwers, the Lindbergh of the mud-hole, the Michel- angelino of the whitewash. With a pie in one hand, a bucketful of whitewash in the other and a mud-hole in front of you — you are at home. But, remem- ber, Slim, 'Kismet' is not a comedy; neither is 'Secrets.' There isn't a mud- hole or a pie in either picture! Skin- ner is a great actor — one of the greatest — and Pickford is 'America's Sweetheart.' You'd be in fast company. And if you didn't make good they'd tie the old comedy-lot ball and chain around your neck and there it would hang forever. Better wait for a role you are sure about."
And all that night I sat up and wor- ried with my success.
The next day the first casting office called. "If the salary I named yester- day isn't right, perhaps I can stretch it," said a voice. "Drop in and see me."
That evening I walked away from the first dinner I had missed in fifteen years — when I had the price. I couldn't eat; I couldn't sleep. Surely, thought I, success was great. Here was Slim Summerville, pie-heaver extraordinary, given a chance to reform and be a real actor, trying to referee a hot argu- ment between the door-knocking Op- portunity man and the hard-fisted, truth-telling prophet of Hardluck, and
"The successful man is the happy man," so the copybook read.
I was afraid to accept — too much of a coward to refuse.
I SOUGHT two good friends. "Play with Skinner," advised one. "Pass 'em both — be smart and don't get in fast company until you've had a few more outstanding roles," counselled the other. "Opportunity will knock again." I interrupted to say that that would be two times more than my copybook "credited him with calling.
Then I had an idea, nothing short of an inspiration! Important and suc- cessful actors had nervous break- downs. I was an important and suc- cessful actor — two offers in one day proved it — and I was entitled to one breakdown if I never had another. Anyway, it would save me from the
(Continued from page 27)
psychopathic ward, where I was about due. My wife phoned the studios that my health was the first consideration; that I was in no physical condition to be funny; that the "Western Front" had been very trying — sorry and thanks for calling. And then, under the cover of darkness, I ran away from the two best opportunities I had ever known, and I thought, "What Pi'ice Success?"
I sought the kindly ministrations of a convenient hot-springs, enjoying my first nervous collapse. Not that I hadn't collapsed before, but never north of the Mexican line.
Three weeks later the highly success- ful actor, Mr. Summerville, sneaked back into Hollywood, greatly improved in health — a most remarkable recovery, said the doctors. Eddie Carewe called. "Would I like to play Slapjack with Gary Cooper in 'The Spoilers?'" The part was open for me.
And again the three-figure salary. Old Man Opportunity was hot on my trail with Hardluck nowhere in sight. Truly, the successful man was the happy man. I had seen Bill Farnum and Tom Santschi make most of the original "Spoilers" — and Slapjack was a role I knew I could play. I accepted and the picture started.
The old Hardluck heard I was back in town and rushed to the studio. He shoved the script right into my hands, open at the very page that described Slapjack's pathetic death at the end of the picture. Everything turned black.
I have always had a horror of death. I had never died. No one dies in the comedies; they just suffer and live on. For fifteen years I had suffered in every way the script department be- lieved a man could suffer, but this was a new experience — I was a condemned man — I might just as well have been in the San Quentin death-house, with the final thirteen steps in front of me. I was numb, the most miserably suc- cessful man in Hollywood.
The remainder of the picture was a haze. As the days progressed, with that death scene staring at me, it seemed likely I would pass on at any moment. I hoped there would be a camera handy . . . they could photo- graph my last moments, call it a scene
and send for the funeral committee cf the Motion Picture Relief Associa- tion. But I lived, successful me — how, I have never known.
At last came the great moment. The studio was a blur of twisted, lurking shadows. From a distance, I heard my name called; I tottered forward.
What I said, what I did, I never knew. Then someone handed me a glass of water. I heard another far- away voice say the scene was "0. K." I know now how the man feels who is just starting the death march up the gallows steps and someone rushes in with the governor's pardon. I tried to remember the copybook slogan and be happy.
In happy days before I was success- ful I could wander about Hollywood without fear of offending friends. A nod was all that anyone expected of me. If I didn't see them, it was O. K. — I just didn't see them. But today, if Slim Summerville, successful actor, doesn't see an old friend, an old pal of the comedy lots, it's just another high-hat gesture. Where I once wandered around .in childish freedom, today I miss half the sights while I search the street corners lest I overlook an old friend. You see, I've been high-hat- ted in my time, and while I can't re- member all I said at the moment, I still recall the fundamentals of the speech and I don't want the same things said about me, particularly when I'm not gaited that way.
In the old comedy, unsuccessful days, after the monthly payments had been met, I could, for thirty days at least, throw back my shoulders and walk boldly out of the front door. But can I do it today? I'm too successful. I have to wait until Mrs. Summerville goes out and flushes the front yard and shrubbery for bond salesmen, oil promoters, realtors, rug salesmen, auto purveyors and then make a run for the Detroit automobile. If I'm in a big hurry I sneak out through the garage. Another reward of success.
And so it runs. Successful? Per- haps. Happy? Occasionally. But al- ways with the knowledge that "just around the corner" lurks Old Man Hardluck, awaiting his chance. Seem- ingly, I can't escape him.
The New Movie Magazine, January, 1933
71
When I Had a Crush on John Barrymore
{Continued from page 35)
this story of the younger Barrymore.
John (Jack to me) was my first real love. I was quite a kid then and you can't imagine the thrill I experience when I look at him today and realize what a good judge I was. I started where I should be delighted to finish. Need I say more? I don't need to, but try and stop me!
When I say he was my first real love, I can't blush, on account of low blood pressure or perhaps slow conscience, but I can hear a lot of nice boys whom I had known prior to 1909 saying, "Well, she always could give a pretty good imitation of most anything!"
Jack was playing in a musical con- coction called "A Stubborn Cinderella," which fully justified its title by re- maining in Chicago until even Cinder- ella got weak-minded and they moved to Broadway. It was Jack's first musical comedy and I presume his last, though I wouldn't gamble on it, for when you realize that since I first knew him Jack has made the average leaping tuna look like an anaesthetized snail — from cartoonist to dramatic bits, over into musical comedy, into farce, back to strong drama, into s.lent pictures, Dr. JekyU and Mr. Hyde, into marriage, out of it, more drama, Peter Ibbetson. Regeneration — another marriage, out of it — more drama. This time Shakes- peare, the best Hamlet of anybody's time — back to pictures, Moby Dick — Don Juan, another marriage, the real one — talking pictures — a daughter, the best yacht for miles around — more talking pictures — the place on the hill in Beverly— a son is born, only male scion of the House of Barrymore . . . How can you say what a guy like that is going to do next? I wouldn't be sur- prised to tune in on the radio some night and hear him doing a combination of Vallee, Crosby and Columbo — and he'd probably sing "Time on My Hands!"
I had met him before 1909, but just as Ethel Barrymore's little brother, and I may say, considered by most people a bad boy — fascinating but bad — a natur- al combination ! He drank, he loitered, he loved lots, but not long. He had bizarre ideas and didn't care who knew it. This was most unusual in those days, when to call a spade a spade was considered daring but to call one a blankety-blank "derrick" was the priv- ilege of a few; and the Barrymores were then, as now, of a distinct "few- ness." Jack's wit was as keen as a razor and even more "ever ready." He was a natural co-respondent because he possessed practically everything the average husband checks at the door of the marriage license bureau.
From the above description you can imagine what a perfect and desirable companion he was thought not to be for a young, unbelievably inexperienced and closely guarded star such as the Janis 1909 model. Friends, enemies, managers, relatives and even my pseudo suitors warned Mother of the danger of losing my head (not to men- tion heart, etc.) over Jack Barrymore, but my mother had definite ideas about motherhood. One was to try and un- derstand the feelings of an offspring before starting to crush them; and so she promptly fell for Jack with a thud that could be heard all over Chicago.
There was not the opposition of the machine gun in those days, but the ele-
A group of chorus girls being rehearsed for the Eddie Cantor picture, "The
Kid from Spain." Looks simple, doesn't it? But just try to do a buck-and-wing
or a tap dance to slow motion.
vated trains made quite a racket — Jack was adopted. Mother it was who gave him bromo-seltzer if he needed it, castor oil whether he needed it or not and invitations to all meals at all times.
I DON'T know what made Jack trail around with us, to special matinees, supper at Rector's, for a ride in our Thomas Flyer, supper in our rooms after the show, sitting reading aloud with me the lovely books that he gave me. I certainly had nothing much to offer him except perhaps a change from the beautiful and sophisticated women he had known. I believe now, looking back through the beautiful shimmering mist called years, that his motive was entirely unselfish. He sensed that I needed education in the beauty of things. Books! "The Ancient Mariner," with its wonderful illustra- tions by Dore. I can hear him explain- ing their values from the artist-corner of his heart. Music! "Lolita," a fa- vorite record of his, sung by Caruso. Through Jack's love of it I wanted to hear Caruso and so on to a love and knowledge of "opera. Romance! His delicate approach to it with, I know now, only a desire to put me on the right road. The whimsical little sto- ries of a master to a rather dumb but sensitive pupil. I was (he used to say) a little white house with green shut- ters and pink geraniums in the win- dows, surrounded by a high hedge. He was the gardener; the little house was locked, but he was also a sort of care- taker and though no one was allowed to open the door he was proud and happy outside, keeping the flowers blooming and the lawns green. Look out, writers! Here comes Barrymore,
and he has done a lot of thinking as well as gardening in twenty odd years.
When Jack left Chicago I was still playing, and if love laughs at lock- smiths, contracts laugh, even louder, at love. So there I remained and thought Juliet, Heloise, Cleopatra, and other "gals" who in other years had thought they knew a bit about "This Thing Called Love," were just over- rated amateurs.
I came into New York two months later and we met as we've been meeting ever since — as great friends, laughing at things which seem silly to others or perhaps sharing a tear over some tiny thought others might crush under the heel of ridicule. We never have recap- tured the "schoolroom" atmosphere, but I'm sure there is no book I might open which he couldn't help me to un- derstand more fully.
When he said, over the phone, "I'll be right over," I sat quite still thinking of the consistency with which he has sauntered in and out of my life, always as a contributor.
THE night before his first marriage, he arrived unexpectedly and made me very proud by confiding his plan for the following day.
Shortly after the honeymoon he moved into the apartment beneath us in Gramercy Park, New York, and made me very happy by presenting me with a new and dear friend, his bride, Katherine Harris.
Time passes and with it some emo- tions. I go to see him in his current great success, "Peter Ibbetson." I sit in the second row waiting for his en- trance. For sheer masculine beauty he cannot be surpassed as he walks down- stage. Dreamily, ethereal, Peter 76-
72
The New Movie Magazine, January, 1933
betson is speaking. His eyes meet mine, the Barrymore eyebrows shoot up, Jack says, "Elsie!" a well-nipped chuckle, and Peter is himself again!
The pendulum swings on, and I with it, back and forth across the sea, one season playing in London, the next in Paris. I return to America to- find John Barrymore appearing as Hamlet. From witnessing this masterpiece I ac- quire the most sensational imitation I have ever given. He replaces Sister Ethel, Will Rogers, Beatrice Lillie, Fanny Brice and others as favorite "impressions" in the minds and plaud- its of my audience.
He goes back to London to do Hamlet. I follow shortly (I was going anyway). In my new attack on London I am in need of more ammunition. John Barry- more supplies it. They cheer when I assume his expression. He saunters into the Carlton Hotel apartment. This time Mrs. Barrymore is "Michael Strange" nee Blanche Oelrichs whom I have known since her debutante days. Another charmer — but the Barrymore is still sauntering.
Los Angeles .... the Orpheum Theater .... He saunters into my dressing room. He is unmarried Ah! hope revives. He sees my imitation for the first time, and afterward remarks, "My God, Elsie, you actually look like me!" Then as an added com- pliment he twinkles, "Did your Mam- ma ever know my Papa?" We walk back to the Biltmore Hotel eating pop- corn. Will he come upstairs for a drink?
He doesn't drink at the moment but he would love to come up for awhile. Hope revives further and then — Dolores, Dolores, Dolores, Costello, Cos- tello, Costello!— "The Shrimp" as he pet-names her, probably because she is about as much like a shrimp as he is like a tadpole. But again I am the
lucky and happy friend to hear, not about his great success in pictures, not about the hundreds of thousands of dol- lars that he is headed for, but that The Shrimp means life, and life means The Shrimp.
More time passes and my perfect Mother joins it in its unending jour- ney. Jack is in Alaska on his boat. His wireless helps a lot, for it says, "Carry on, as she wants you to."
I carry on and find myself very soon at the christening of The Shrimp's first baby, a charming but somewhat bored-by-the-whole-procedure young lady. The Shrimp is looking beautiful and acts as if she hadn't really done anything at all, and Jack is, I find, just a bit coy, trying to look as if christenings of his babies were as com- monplace as opening nights of his pic- tures. But he "gives" as he takes me to my car. He confides in me that it's all pretty wonderful and you will be astounded to read that he began raving about The Shrimp just as if I hadn't found out for myself what a lucky devil he is.
That was the last time I had seen him, until he said he would be right over. In the meanwhile I have married and he has become the father of a son ■ — two great events in our respective minds. He stood in the doorway look- ing at least fifteen years too young.
Barrymore — Elsie !
Janis — Jack!
Barrymore — You look divine!
Janis — You haven't looked so well in years! Is this the effect of having a son?
Barrymore — It's The Shrimp more than anything. Elsie, she is the most wonderful
Janis — Yes, I know. What's the boy like?
Barrymore — Like her, thank God! He's not the least bit like a Barrymore.
You know, Elsie, he's got her
Janis — (Somewhat wearily) Now about this article. I want to get some up-to-date stuff about you. What do you think of
Barrymore — (Vaguely) Elsie, you look divine!
Janis — Thanks! What are you go- ing to tell in your articles?
Barrymore — (Rising casually) Where is your husband?
Janis — (Brusquely) Working. Are you really writing them yourself?
Barrymore — (Sauntering around the room) Is this his picture? Um-m — good looking guy. I want to meet him!
Janis — Yes, you must. Are you go- ing right back to your early experiences in your articles — ?
Barrymore — (Looking very literary) Oh, yes, I'm shooting the works. It's quite a serious business this writing! And I — you know I would never be- lieve you'd been ill. You look marvel- ous— "
WELL! Now I know I need say no more. You're way ahead of me. For the first time that sauntering so- and-so refused to contribute. He has become a writer, and "we authors," you know, have to protect our ideas.
We talked for some time, about the Olympics and The Shrimp, his last pic- ture and The Shrimp; and his exit line was: "Did I tell you The Shrimp sent her love?"
"Give her mine," I said, and tell her that if I could marry a boy twenty- six at forty-two I might marry one twenty at sixty-two. Anyway, file my application and intentions anent John Barrymore the second."
Between us, I'm sure there will never be another like Jack. To quote his famous sister's most famous line:
"That's all there is. There isn't any more!"
Colleen Moore
deep marks which the crows of time had made.
It was Grandmother Kelly.
Colleen, which in Irish means girl, was the old lady's pet name for the granddaughter who had inherited her strength of character.
"What is it, my colleen?" she asked when they were alone.
Colleen hurriedly told her grand- mother of her chance to go to Holly- wood, and of the opposition of her father.
"And is that all the trouble you'd be havin'?" asked the grandmother. "Let me think it over till the night, and then we shall see." Colleen hugged her grandmother.
The old lady said quickly, "I brought yere mither up well — to fear God and the Saints. What does she say?"
"She's on our side, Grandmother," answered Colleen.
That night the unprotected father fell into a trap set by an old lady, her daughter, and a young girl who knew exactly what they wanted.
As the second course of the dinner was served, Grandmother said happily, "What lovely news I hear about our Colleen being a movie star. Indade, the Lord is good to thim that kape His commandments."
The efficiency engineer looked won-
(Continued from page 29)
deringly at his wife and daughter.
They looked intently at the grand- mother, who resumed, "Indade — I wish I was a girl — how lucky young folks are nowadays— the good St. Bridget is watching over thim."
Mr. Morrison frowned, while his wife entered the battle.
"Yes, indeed, Grandmother — Kath- leen is overjoyed. She will never be happy until she goes to California." Then slowly, "However, — I'm afraid — Father objects."
The three determined women looked with pity at the helpless man.
"What's that?" asked Grandmother, bewildered. "Surely not her own father — with all he knows of the big world."
"That's it — " returned the father, his foot ready for the trap. "I object be- cause / know the world,. Kathleen will be better off to remain at home and marry happily in due time."
"All time is due when you git mar- ried." Grandmother said the words out as if they began a funeral sermon.
The two women and girl still looked at Mr. Morrison.
Grandmother talked again. "It's a mortal sin you're committin' — you who're the only man in the world good enough to marry me own daughter — Colleen would be a big movie star un- der such a man as Mr. Griffith. Sure,
he mist be Irish." Then Grandmother added, "I want to go to California — I can look out for Colleen."
Late that night another man sur- rendered, on two conditions. If Col- leen was not successful within two years she was to return and take up another career. The second was that the grandmother should be Colleen's chaperone at all times.
The grandmother, agreeing to the terms, said to her daughter and Col- leen, "Indade, ye can't whip an Irish- man all at once."
In two weeks Colleen Moore, accom- panied by her seventy-eight year old grandmother, reported for work at the Fine Arts Studio.
At the end of the six months trial stipulated by Mr. Griffith, there was a great deal of anxiety in the hearts of Colleen and her grandmother. During all that time the girl had played small comedy roles, and did not know whether or not Mr. Griffith had even noticed her.
They opened a letter from him with trembling fingers.
She was retained, and given a raise from five dollars a day to fifty dollars a week.
Next morning Mr. and Mrs. Morrison received the glad news by wire. (Please turn to page 74)
The New Movie Magazine, January, 1933
73
Colleen Moore
In sunshine or rain, on location or on the set, early morning or late at night, Colleen's grandmother was with her.
If buttons or braids were to be matched or costumes selected, they were attended to by Grandmother Kelly.
The future looked bright for Grand- mother and the girl at the end of the first year and a half in Hollywood. Colleen had played one leading role, which resulted in her being chosen to play the lead opposite Robert Harron.
Her salary had been raised to one hundred dollars a week.
Suddenly all the employes of the Fine Arts Studios were given a blue note. The company was to close its doors for lack of money.
Colleen was told in the note that the company regretted parting with one who had such genuine artistic ability as herself.
She showed the note to her waiting grandmother.
"How smart they are," exclaimed the old lady. "Indade, ye can't fool thim. They said ye had genuine ar- tistic ability. Bless their sweet shrewd souls."
"But, Grandmother," said Colleen, "all the other girls got notes. They all read alike."
Sadly her grandmother looked at Colleen.
"Surely it would not be ye to fool yere grandmother. They meant what they wrote ye. They were only taysin' the other poor girls — God forgive thim."
Five months of dreary weather passed. Colleen made the rounds of all the studios. The money which she had earned in Hollywood disappeared. The grandmother dug into her small in- heritance. It too was rapidly vanish- ing. The pride of the Irish kept them from writing home that all was not well.
One heart-hungry day, Colleen re- turned from her futile quest and said to her grandmother with deep emotion, "Grandmother, I'm not beautiful — nearly all the girls who were laid off at Fine Arts with me are working. I must be the Ugly Duckling."
The grandmother rose in wrath.
"For shame, Colleen. There was niver an ugly ducklin' without a silver feather. Yours'll be shinin' whin all the rest are dull."
She modified her speech. "Of course, I'm not one to be praisin' one of me own, but I'm nayther blind nor dumb." She held up an ancient prophetic fin- ger. "Wait and see."
When another month passed, Colleen, with slight confusion said, "Grand- mother, our two years are up. What shall we do? We can't admit failure."
The grandmother took the girl in her arms. "Me dear child, we not only can't admit failure, we don't ayven know how to spell it." She smiled, "Doesn't the Bible say, 'Blessed are thim that don't lie, but kape quiet in the cause of truth.' That's what we shall do." She paused. "Besides, two years isn't long enough. It took six days to make the world."
Another month passed and then Col- leen was engaged to play in "A Hoosier Romance" and "Little Orphan Annie."
Her work was of such excellence
(Continued from page 73)
that she was engaged to play with Charles Ray in "The Egg-Crate Wallop."
To sustain the high mood of comedy which these pictures demanded was quite a strain on so young a girl.
She was still to learn that nothing was certain in the most uncertain busi- ness in the world.
In the midst of the new happiness of success came another alarming predic- ament. Her comedy work in such films as "A Hoosier Romance" had stamped her as a hoyden. The future emotional
My, won't this make William Powell's face red? Just out of High School, collar, curls and everything . . . An old picture of the star that a fan friend sent us just to show us what a differ- ence a little stardom makes.
actress of "So Big" found it difficult to obtain consideration for more serious roles.
By a superhuman effort she managed to get a leading role with John Barry- more in "The Lotus Eaters." Her fine performance was wasted as the picture was a dismal failure.
Rupert Hughes, remembering her earlier work, gave her leading roles in "The Wall Flower," "Look Your Best," and "Come On Over."
Even after sterling performances in all three films, Colleen was unable to find further work for twenty-two weeks.
She then met John McCormick.
Though she had unquestioned ability, it was his faith that made her a world famous film actress.
After nearly a year he persuaded First National to give her the lead in "Flaming Youth." When released Colleen Moore became internationally famous and established the flapper vogue.
She then followed with "Painted People" and "The Perfect Flap- per," and when John McCormick sensed that the vogue for flapper pic- tures was passing, he took the most daring chance with the future of the
girl whom he had married.
The producers were again decided that she was a "type." He made the same hard fight over again to have her cast as a woman of sixty in "So Big."
Miss Moore studied the mannerisms of her grandmother in this picture. That lady, at eighty-three, went to see the film. Hurrying home, she exclaimed to her granddaughter, "For shame — to put yere old grandmither up there for the payple to stare." And she laughed through tears.
Once in a film the villain attacked her granddaughter. Forgetful of where she was, Grandmother stood up in the theatre and shouted, "Stop it, stop it, hands off, ye son of Satan!"
All in the audience looked at her. The film rolled on, remorselessly.
"I could have died for very shame," the gray lady said.
When Colleen appeared in "Irene," she wore many gorgeous gowns. Grandmother watched her work, seated next to the designer.
By way of conversation, the designer said to the grandmother, nodding to- ward Colleen, "Isn't she beautiful?"
Grandmother's mind was moral that day. "Indade — but what's beauty? She's a good girl— and may the Saints protect her."
When Colleen signed a contract with First National at $10,000 per week, Grandmother appeared indifferent.
"Indade, and ye're worth twenty." Then as if the amount staggered her — "Oh the ayvil heart o' me."
Time and styles often mean nothing to Grandmother.
Recently in a test Colleen wore a "Merry Widow" hat of twenty-five years ago. As large around as a bar- rel, it was red and blue, with yellow flowers.
"How bee-utiful," exclaimed Grand- mother. "Niver let thim take it back. Buy it yerself."
When her marital break-up came with John McCormick, Miss Moore was adrift for many months.
Her million dollars could restore no stone to her house of dreams. It looked as though her cinema sun was in a lasting eclipse.
After two years she began to fight back by appearing in a stage play. It soon failed and left her in physical collapse.
It had been three years since she appeared on the screen for the last time. Then something happened.
A long time before she had prom- ised a Hollywood stage producer that she would appear in "A Church Mouse" should he ever bring it West.
The play opened in Hollywood with the half forgotten girl as the lead.
She made one of the biggest hits in years. Within twenty-four hours she had offers from five film studios.
She accepted a "long-term contract" with Metro-Goldwyn-Mayer.
On the way home she turned to the gray-haired lady with her and said,
"What a marvelous come-back, Grandmother."
"Come-back! — Where have ye been? Ye must be away before ye kin come back! You've niver been gone!"
The limousine rolled on, while the two conquerors of Hollywood and an efficiency engineer, gazed straight ahead with smiling eyes.
74
The New Movie Magazine, January, 1933
Invest in Yourself
"Listen to me, Bill. T^o money invest' ment you can ma\e is so important to you as an investment in yourself."
JAIHEE /MOtiTfcCKlCftY l§LA£Xr
YOU can make a wise investment in 1933 — whether or not you have money to invest. It is one which should bring rich returns, added health and comfort and, more than likely, extra dollars.
Invest in yourself.
A complete physical examination — a thor' ough health audit — costs but little in time and money. An investment in yourself should be the foremost investment you make in 1933.
If you are mentally and physically fit, you will be ready to take advantage of your opportunities in 1933 and the years to follow. If you are sick or rundown, you will find it very difficult to think clearly and to decide wisely. If your doctor should find something wrong which can be cor' rected, you can profit by the timely warning.
^w4*
If, however, he reports you to be in good physical condition, you will be glad to know it. It will be a tonic to your spirits and give you added confidence in yourself. You will tackle your problems with keener in' terest and greater capacity.
After you have done everything you can do to become fit — keep fit so that your dividends from health will be uninterrupted. Send for the Metropolitan booklet, "Health, Happiness and Long Life11 which tells simply and clearly the fundamental rules of intelligent living habits.
It discusses such subjects as Sleep, Fresh Air, Rest, Sunlight, Exercise, Posture, Cleanliness, Water, Food, Comfortable Clothing, Work, Play and Good Mental Habits. Your copy of Booklet 133'B, will be mailed free on request.
Metropolitan Life Insurance Company
Frederick H. Ecker, President
The New Movie Magazine, January, 19 S3
One Madison Ave., New York, N. Y.
• H.L.I. CO.
75
The ENTRANCE is Important
We present in miniature the side porch and en- trance hall of our little Colonial house
By BETTY LENAHAN
BECAUSE of the tremendous interest shown in the development of our little Colonial house, we are reproducing it in miniature for our readers room by room. Last month we presented the living room of the house, completely furnished and dec- orated in the authentic Colonial manner. This month we present the entrance hall and side porch of the house, which we have furnished and decorated as simply and as attractively as possible.
THE entrance to a house is ever an important fea- ture. The charm and good taste of the entrance invariably suggest the charm and good taste of the entire house.
Though the entrance hall of our little Colonial house is small, we have given careful thought to its decoration
and furnishing. The walls to the dado are of paneled wood, painted a mellow antique ivory. Above the dado the walls are papered. The background of the paper is ivory, with a scenic design in shaded green. The stair- case is very simple, painted ivory with the treads and hand-rail stained mahogany. The paneled ivory doors are typically Colonial. The floor is completely covered with broadloom carpeting in a lovely shade of blue- green.
The furniture is in keeping with the background and each piece was carefully selected because of its sim- plicity and usefulness. The quaint little mahogany settee under the staircase is particularly interesting, the severity of its lines is offset by the padded cushion on it of a bright glazed chintz with a small floral design on a blue-green background. (Please turn to page 81)
(Below) — Reproductions of a Duncan Phyfe console and a small Colonial settee are interesting notes.
Hitchcock chairs with rush seats
are placed on either side of the
entrance to the living room.
Models by HERMAN C. KNEBEL
76
The New Movie Magazine, January, 1933
Liordelia -Diddle ifer/aw . ♦ .Ijordelia Diddle {mne veaM aye. fler skin lovely now as then flow does sne care lor it :
CORDELIA BIDDLE IN 1923, when she was pronounced one of the twelve most beautiful women in America. She cared for her skin with Pond's Two Creams.
Mrs. T. Markoe Robertson,
the former Miss Cordelia Diddle, is the mother of
two boys in their teens. She tells frankly just
how she keeps her youthful freshness.
CORDELIA BIDDLE TODAY,
lovelier than ever! She says, "Pond's Two Creams com- pletely care for my skin."
"T HAVE never stopped being inter- JL ested in doing things! I swim and ride horseback and dash around as much today as when I first came out.
"And I have never lost interest in car- ing for my skin ! I keep it fresh and vital by the same rules I followed years ago." As she tells you gaily about her way of life — her way of caring for her skin, Cordelia Biddle looks amazingly like the very same lovely young thing who talked about keeping the skin "exquisite" with Pond's just nine years ago.
As you look at that clear transparent skin, you simply refuse to believe that Cordelia Biddle spends most of her life in the open.
"My rules boil down to two things," she says. "Keeping my skin clean . . . And protecting it.
"Pond's Cold Cream takes care of the first rule. It is deliciously light. Goes right into the skin, and takes out every speck of dirt.
"You can't swim and golf and skate and ride horseback, season in and season out, and keep a nice skin unless you use some protective.
"That's where Pond's Vanishing Cream comes in. I don't know what's in it. But I do know my skin has never got rough and out-of-doorsy."
For a Simple Home Beauty Treatment . . . Here's the famous Pond's way that is used by hundreds of women: First, cleansing — Pond's Cold Cream followed by the soft, absorbent Pond's Tissues; then stimulating — Pond's Skin Freshener patted on briskly; then protection and finishing — Pond's Vanishing Cream — and to it your powder clings for hours!
Send 10? (to cover cost of postage and packing) for choice of FREE samples.
Pond's Extract Company, Dept. A
127 Hudson Street New York City
Please send me (cheek choice):
Pond's New Face Powder in attractive glass jar. Light Cream □, Rose Cream □, Brunette D, Naturelle Q. OR Pond's Two Creams, Tissues and Freshener □.
Name_ Streets
City-
State-
Copyright, 1932, Pond's Extract Company
Tune in on Pond's, Fridays, 9:30 P. M., E. S. T. Music rhythmed for actual dancing . . . Leo Reisman and his Orchestra — WEAF and I\BC Network
The New Movie Magazine, January, 1933
77
health warning
PRINTED IN THE INTEREST OF PUBLIC SAFETY
Winter ills attack more easily those systems which are weak- ened by intestinal poisons.
Keep your system clean! If Nature needs help — take a good laxative. But avoid the wrong kind! Violent laxatives do more harm than good.
Ex-Lax is the right kind of lax- ative. It is mild, gentle, effective; doesn't gripe ; isn't habit-forming.
The only medicinal ingredient in Ex-Lax is phenolphthalein — a scientific laxative agentwidely prescribed by physicians — com- bined with delicious chocolate in the special Ex-Lax way.
Not every laxative that ends in "Lax" is Ex-Lax. There is only one Genuine Ex-Lax — the world's largest-selling laxative. Beware of imitations!
At all drug stores in 10c, 25c and 50c sizes. Or send for free sample. Ex-Lax, Inc., Dept. B-13, P. O. Box 170, Times Plaza Station, Brooklyn, N. Y.
IMPORTANT!
For more than a quarter of a century, Ex-Lax has grown — winning the confidence of mil- lions— while imitators by the score have come and gone. Imitations only seek to deceive. Be sure that you get genuine Ex-Lax when you ask for Ex-Lax.
C'a
^eep^ecjular V;,,,
EX- LAX
OLATED LAXATIVE
BOX OFFICE
CRITICS
Marie Scores Again
San Francisco, California
We are fed up on giggling ingenues with simpering smiles, affected man- ners; flappers with ultra-modern ideas, daring escapades; tomboys, with boyish bobs, hoydenish ways; sophisticates with sleek hair, sinuous forms; tragedi- ennes with mournful eyes, mournful dress, mournful voices; country maid- ens trying to remain good in big wicked cities; we've had our fill of gushing Gerties, hipless, flat-chested females!
We thank heaven, for a woman with a real waistline, plenty of curves, and a sense of humor — Marie Dressier, with her clever repartee, mirth-provoking antics, and genuine acting!
Bernice C. Bowne, 890 Geary Street, Apt. 31.
Dot— Dash
South Bend, Indiana
Being • a commercial wireless op- erator, there is one thing that I have noticed in a number of pictures where a wireless operator is required for a scene, and that is, the radio operator will send some code signals that don't make sense, or rather, he will not use the proper procedure in calling other stations; and sometimes the code that is transmitted really isn't anything that one could understand.
To those who are not interested in this side of radio, and don't understand the code, the scene would appear to be all right and very real, but to the ex- perienced radio operator — well he knows at once that the proper method is not being used where ship-to-shore traffic is concerned.
It seems to me that a wireless scene should be reproduced exactly as it is done on ships, and in this way the scenes would be alive with reality. F'rancis Bock, 857 S. Marietta St.
Remember the Quota
London, E. H., England
Have you no plain girls in America? You have plenty of ugly men, but all the girls seem to be visions with faces like tooth-paste advertisements and forms liko Venus.
We have plenty of girls in England who are not so good-looking. You might
import a few and give them a break. You know it's so unconvincing to find the part of a lonesome little girl, with- out a boy friend in the world, played by one of your beautiful blondes. Edward J. Jarvis, 360 Hale End Road, Chingford.
Her Star
Tacoma, Washington
All hail to Fredric March! He's clean-cut and intelligent-looking, and puts over his portrayals with a superb naturalness, grace and ease.
His voice has a fine quality, and his face is illuminated by an expression of charming, refined intellectuality. His greatest asset lies in the fact that he is never conscious of his attractiveness.
You can have all your glamorous, urbane-mannered heroes and mysteri- ous backgrounds, but I'll choose an un- affected, typical American boy for my prime star any time!
Mary Schubert, 4515 North Orchard.
Shearer Fan
Waterbury, Conn.
We certainly owe congratulations to that one famous actress, Norma Shearer.
She was as sweet as a June morning and as thrilling as your first kiss, in "Smilin' Through."
She has beauty, charm and talent.
Miss Shearer
certainly heads the
actresses for me.
Miss R. Eggleton,
Buck's Hill.
THE NEW MOVIE MAGAZINE pays one dollar for every interesting and constructive letter published. Ad- dress your communications fo A- Dollar-for-Your-Thoughts, THE NEW MOVIE MAGAZINE, 55 Fifth Avenue, New York, N. Y.
78
The New Movie Magazine, January, 1933
THEY'RE Real HOME FOLKS
. — ■ I and HOW They
LOVE Jo COOK
•„n admits
— ^ GrdeS
her v
fc.- -
;--
OOMETIMES when you see the screen stars in those exciting, glamorous movies that you love so well, you for- get that they have home roles too. Hollywood Cook Book shows that side of your favorite stars ... as home folk who like to cook and know a lot about good food. In this one gay little book, "Favorite Recipes of the Movie Stars", you'll find intimate, homey pictures and grand dishes that you'll want to try.
Favorite Recipes of the Movie Stars is only ten cents postpaid and fifteen cents in Canada.
TOWER ROOKS
Incorporated 55 Fifth Avenue, New York City
The New Movie Magazine, January, 19 S3
Warner Baxter has some pretty hot ideas on Chili con Came
pePpy sr„
ltent
° '« Jol Sand»ich
tin
CI
yd.
79
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INSTANT PURE SUDS
WITHOUT USING
DANGEROUS HOT WATER
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Music of the Sound Screen
(Continued from page 52)
started a series which will feature Phil Harris, orchestra leader and crooner of the famous Hollywood Cocoanut Grove, where most of the stars play. This is the place where Bing Crosby made a hit and Duke Ellington played.
AND now for some of the most popu- • lar new records of the month. "I Found a Brand New Sweetheart" is played for us by Elliot Everett and his orchestra. I think we have heard this before under another name but the boys play it very nicely. There is some good vocal work by James Har- kins and George Stone.
The other side is "Moon," James Harkins singing the vocal.
WAS I?" is the next one. You know: "Was I Drunk, Was He Handsome?" This is played by Elliot Everett and his orchestra. This isn't so bad if you like it but I doubt if you do. The other side is by Elliot also, "Little Nell." Not so good either. (This is a Victor record.)
GEORGE OLSEN and his orchestra are with us again with "Say It Isn't So" Irving Berlin's new hit tune. This is a very beautiful number and the boys play it very smoothly. How- ever I can't get excited over Olsen as most of his work is too dragging and lacking in flash. Paul Small sings the vocal. "Love Me Tonight" is on the other side, also by George Olsen. This is about on a par with the first tune. (This is a Victor Record.)
ALL the admirers of Isham Jones ** will welcome the news that you may now hear this popular leader and his orchestra on Victor records. I think that this is Jones' first record for Vic- tor since he made his sensational come- back. "Everyone Says I Love You" is the tune he plays from the Marx •Brothers picture "Horsefeathers." A nice easy-running number and the or- chestra's work is all that could be asked for. The other side is also by Isham Jones and his orchestra, "Always in My Heart," as good as the first. (This is a Victor record.)
HOT played
and Anxious" is the next for us by Don Redman and his famous orchestra, a real dance tune played