^7^/ /:/ 4'; \ SCANNED FROM THE COLLECTIONS OF PFA Library and Film Study Center, University of California, Berkeley Art Museum & Pacific Film Archiv bampfa.berkeley.edu Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by an anonymous donation in memor>' of Carolyn Ilauer Digitized by the Internet Archive in 2009 with funding from IVIedia History Digital Library http://www.archive.org/details/motionpicturecla1920broo ACTION PICTVDE JANUARY MARION DAVIE5 ' r^" -•? \' A Startling Memory Feat That^u GanDo How I lesu-ned the secret in one evening. It has helped me erery day WHEN my old friend Faulkner invited me to a dinner part}' at his house. 1 little thought it would be the direct means of getting me a one-hundred-and-fifty per cent, increase in salar>'. Yet it was, and here is the way it all came about. Toward the close of the evening things began to drag a bit. as they often do at parties. Fi- nally some one suggested the old idea of having everyone do a "sttmt." Some sang, others forced weird sounds out of the piano, recited, told stories, and so on. Then it came to Macdonald's turn. He ^vas a quiet sort of chap, with an air about him that reminded one of the old sa)ing that "still waters run deep." He said he had a simple "stunt" which he hoped we would like. He selected me to assist him. First he asked to be blindfolded securely to prove there was no trickery in it. Those present were to call out twenty-five numbers of three figures each, such as 161. 249. and so on. He asked me to write down the num- bers as they were called. This was done. Macdonald then astounded everyone by repeating the entire list of twenty- five numbers backwards and forwards. Then he asked people to request numbers by posi- tions, such as the eighth number called, the fourUj number, and so on. Instantly he repeated back the exact number in the position called. He did this with the entire list — over and over again, without making a single mistake. Then Macdonald asked that a deck of cards be shuffled and called oijt to him in their order. This was done. Still blindfolded, he instantly named the cards in their order backwards and forwards. And then to further amaze us, he gave us the number of any card counting from 3ie top, or the card for any number. You may well imagine our amazement at Mac- donald's remarkable feat. You naturally expect to see a thing of this sort on the stage, and even then you look upon it as a trick. But to see it done by an evervday business man. in plain view of everyone, blind- folded and under con- ditions which make trick- ery impossible, is aston- ishing, to say the least. ON the way home that night I asked Macdonald how it was done. He said there was really nothing to it — simply a memory feat, the key to which anyone could easily learn m one evemng. Ihen he told me that the reason most people have bad memories is because they leave memory develop- ment to chance. Anyone could do what he had done, and develop a good memory, he ^id, by following a few simple rules. told me exactly how to do it. 'Our president compliment to tell him instantly fac And then he At the time I Bttle thought that evenmg """'f. P™;!* •" °*u°'\' of the most eventful in my life, but such tt "'what'^Iacdonald told me I took }o^"'^ In one evemng I made remarkable stndes t<^ ward improving my memory and it was but a miestion of da* before I learned to do exacth^ what he had done. At first I «n»*edmyself with my new-found ability by amazing people at (Three) parties, ^f^ "memorv- feat." as my frieiuU called it, snrel)' made a hit. Every one was talking about it. and 1 was showered with in- vitations for all sorts of affairs. If anyone were to ask me how quickly to develop so- cial popularity, I would tell him to leam my memory "feat" — but that is apart from what I want to tell you. The most gratifying thing about the improvement of my memory was the re- markable way it helped me in business. Much to my surprise I discovered that my memory training had literally put a razor edge on my brain. My brain had become clearer, quick- er, keener, 1 felt that I was fast acquiring that mental grasp and alertness I had so often admired in men who were spoken of as "wonders" and "geniuses." The next thing I noticed was a marked improvement in my conversational pow- ers. Formerly my talk was . , ,^„ |,is „,„, Sashes to my mind, together with a halting and disconnected. I never '°"''' '"'""."j string of facts about him. 1 always NkeS to read hot things to say until the conversation »>" ""V; /*"„^ „,„all, forget most of it. Now I find it easy to recall then, when it was too late. I .•»"!'' /'"^''(..'^'""buI what I have read. Another surprising thing is that 1 apt and sinking thing. I . ""C'"^",' ,~ talking I <:»n now master a subject in considerably less Ume than now I can think like > fl»«b When I am "'""^K ' ^^,„„ p^ce Usts. market qnoUtions. data of all kinds, never have to hesitate for the "«•" ,»'°'°- '"h,?*"! I can recall in detail almost at will. I rarely inake a expression or the ngbt thing to say. It seems ">» »" mistake I have to do is to start to talk and ■"'"""i' j", ,h° My vocabulary, too. has increased wonderfully. When- myself saying the very thing I want to say lo ma»e ^^^^ I see a striking word or expression. I memoriae it urealest impression on people. ,i:,:,, ,„ remem- and use it irt m. diclalion or conversation. This has It wasn-t long before my newfound =>'"'■"', '° '""X put a remarknbk sparkle and puHin, power into my coo •"^ii-.^rSl ,T,he riiht Hine versation and business leUers. And the remarkable part ".£V,i^ fhe a tentVon of o"r "f it all is that I can now do my day's work quicker and !3h.S?i He go" in °he with much less effort, simply because my mind .orb GbTtS calling me in when- like a f!a=h and I do not have to keep stopping to l«.k fhe" biLi^JL'"' ir^e'l"' All'thi^is extremely satisfying to me. of course. But the busioes^ ,'" °'..y„u ,he best part of it all is that since my memory power pressed himself •» ■".'■ »°," g„, ^itracted the attention of our president, my salary T., I Jam o know while hos steadily been increased." Today it is many bme. Thl^otheT fellows annoy me greater than it was the day Macdonald got me ..u,e«ed by dodging out of the office m improving my memory. ?*jM .^^Hk. and saying 'I'll look it up.' " '".*.'... ^ , ■ ■^^ ^^^^^ ' . . . ^ I THAT Macdonald told me that erenffnl erernng Ipni-Nn that m» ability VV «" <^"' "''" '*" R""" Memory Course." I did. ,o remembe? h^'Jd n,e ' * That is how I learned to do all the remarkable wondeTfi^lv in ^ling thing, I have told you about. The publishers of the .iT !^rhJr neoolT mVHcu- Kofh Memor. Course-lhe Independent Corporapon-are with .°'h" 1P~P''- J!"^^^" „ confident that it will also show you how lo develon a Ivi'en'a d1"u«!oS "A». S remarkable memory that the, will gladly send the Coar« 'L'l ^"nU^SckW '".rX '': '"Vr ne'edTo?:^' a single penny un.il vou ha,e ex_ '^^r of de^nUe fact, and amined .he Course and found that it full, bves up to al fiJi^f, usnaflv dom nllJ, the the claims made for it. Send no money. Merely ma.1 ^ T^e .nSHme^nin ihc couoon or write a letter, and the complete CourK oUiers. Time and lime agmn lue . instantlv. all charge, prepaid. If L^'of "hinkiSr^^^pTy T- ;7ter e«mi\iat°or"ou deciiS; l^t yordS n"^ wan. ' I ™;winl.:.nM; recall to keep the Course, then return it and you will owe ?'T „.Sfiile, While l"m nothing. On the other hand, if you find, as thousand. „f„,;d;?f^ triumphs in 'f others have found, that the Roth Memory Course wiU .. • u. Ku resnecr I often fee" do wonders for you, then merely send five dollars in ed me on altvays bong able this f/spect. 1 olten leei m ,. he u^anted to *.««-." '?X Xr „'" wh'^S YoS^tove always -anted •» good memory. No- yoo of the other men wno <»"»»■ . ■ Remember, you pay no money unbl yoa hold an their end in the argument becauje •>•" canno '^'^.^^i:^,^ that"™ C^irl: -Si benefit you. You ha« recall facts instantly. It seems as 'h?""* ' "J^'T. ""' evervtbing to gain and nothing lo lose by taking imme- get anything. Every '»« .J. ";°" P." ^2 iTonS U -e?e diate arton So mail the coupon NOW before thi. clear and as easy to recall ■?«;""'"'??"«'' " "" hheral offer is withdrawn. teriK^v Wfore mr in plain black and wdhc. , . , „ „.„„ wVallTeai a lot about the importance of sound jud*- FRKK EXAMINATION COrPON^^^_^^ ».*«» Pmnlc who ouaht to know say that a man cannot «••« — ■. — — ---<•-- — -- ^% tr^jircs^ s^ufd judgment until he is forty to INDEPENDENT CORPORATION fifty years of age But I have duP'or;?^ >» «»t 1 r,bll.l,OT .f Tk. I>d«pradr»t W»*It have found that sound judgment i, "o">'°# "JTS '".S Uepl. K-S71. Il» Wert Wth Slre»«. !««» ¥«fc. '*'eh"S'V,Si1,rv'?s're'^Li''o"«uid7udSeo"t° 'l Please send me the Roth Memory Course of seven each """V,;. "!^° but many times I have been compli les«,ns. I will either remail the Course to you within m°^^rf^? Sl'vi^g Ihe ird|^er;t of a man of forty five. fi„ ,|,y, after it, rcceio. or send you $S in full pa.vmen. ?"ke no p^^l creditor thi»-it is all due to the „f the Course. way I trained my memory. .. ,_, ' »•••••• natmr TuE-QF irf ooW a few of the hundred* of way* I ha^Vofited by Hiy'^ned memory. «»•»»«''*. Address I sufle- the humiliation of meeting ■»»» ' '"'•"•"f M. P Clasnc 1-20 not being able to reeaU their namev fh. moment I Ke -^and they both show the same pictures f WHETHER you attend a million-dollar palace of the screen in the hig dty, or a tiny hall in a backwoods hamlet, you will find that it is always the best and most prosperous theatre in the communi^ that is exhibiting Paramount Artcraft Pictures. It does not matter whether you arrive in a limousine, a jitney, on trolley or afoot, you are immediately taken out of yourself by these great pictures which delight so many thousands of audiences every day in the week. Human nature has deep-down similarities wherever you find it, and Famous Players-Lasky Corporation has made the bigger and better theatres possible by supplying a great variety of photo-plays which touch the roots of human nature with absolute certaint>'. A theatre cannot be better than the pictures it shows. Good music, wide aisles, luxurious seating and fine presentation have all naturally followed as the appropriate setting for Paramount Artcraft Pictures. Find the theatre or theatres in any town that show Paramount Artcraft Pictures, and you have found the spots where time flies. paramount Cuicrcdt Jiotion pictures Tbcse two trade-marks are the sure way of ideuUfying raramoutUAncraft Pictures— and the theatres that show them. Latest Paramount Artcraft Pictures BUlie Burke in "WANm> A HUSBAITD** Btfad Clayton sm *^OKE Deaely Than the Malm." Mmrzaentc Clark in **A Giu. Named MAmr" Irene Castlem *nrHE Invisible Bond" Cecil B. DcMiUe's Productioii **Maix and Female" "Everywoman** Whfa All Star Cast Elaie Ferfoson m **Coo kte«feit" Dorothy GUh in •TumKiNG THE Tables" D. W. Griffith Production "ScAJULBT Days" Wm. S. Hart t» "Saicd" Hondini in "The Geim Game" Vivian Martin in '*His Official Fiancee" Wallace Reid in "Hawthokne of the U. S. A," Haurice Toameur*s Production "Victory" Georee Loane Tucker's Production "The Mimacle Man" Robert Warwick in "An Adventitke in Heakts" Biyant Waihbum tM **It Pays to Advertise" 'The Teeth of the Titer** With a Star Cast •Tlie Miracle erf Love** A Cosmopolitan Production^ **The Cinema Murder" A Cosmopolitan Production pMwIwcft Thomam H. in Kiid Bennett in ••What Evehy Woman Leakhs" Dorothy Dalton m "His Wife's JF«iekd" "2Z% Hours' Leave- Douglas MacLean & Doris May Charles Ray »h "Ceooked Stkaight" P^tratnount Comcdie* Paramount-Arbuckle Comedies one every other month Paramonnt-Msck Sennett Comedies tmo each month Paramount-Al St. John Comedies one each month Paramount-Ernest Truex Comedies one each month Panauoani Short Sa^ifa Paramonnt MaEaztne issued weekly Paramoimt-Post Nature IHctures issued every other week Paramount-Burton Hohncs Travel Pictures one each week EMbfOQS FLAarERS-LASrar OQRFCXBAIION (Four) Write the Words For a Song Write the words for a song. We revise song-poems, compose music for them, and guarantee to secure publication on a royalty basis by a New York music pub- lisher. Our Lyric Editor and Chief Com- poser is a song-writer of national reputa- tion and has written many big song-hits. Mail your song-poem on love, peace, vic- tory or any other subject to us today. Poems submitted are examined free. BROADWAY COMPOSING STUDIOS H7-ERvnU tt^^tnmiwmr aarHM>S«nn. NEW TOU Vi.I. IX JANUARY, 1920 KTATEMENT OT THE OWNEKSinP MaNACKUKNT. flll- Cm-ATION. ETC-. REQUIRED BY THE AlT <1K rONUJUlittr &r AUCCBT 24. 191X «« MOTION I'HTUKE t L-VSSU: puli UMbtd MONTHLT at 175 DCEFIELD «T.. BKOOKLYX. X. T.. ror OCTOBER 1. 1«5L SUte of NEW YORK, rnoiitT of KIX*;». Bffon me, m. NOTARY PUBLIC in mml for Uu- Mtate ■ml' cooBtr afonsaM. pnsaaaOr AptH-aml ECUENE V. BREWSTER, wto. h ■¥»■*> been duly nrani acccnUnc to law. tlepotM^ au<l Baj» that, he is Ui» rREEEDENT of ihf 3J0TION PlCTl^KE CLASSIC •mi that the foUtMriac is. to tht best cf his knovlctlce and brtkf. a trot 5tatwr«M of Ute ownrrahip. managwnrat (and U « daily paiwr. the drmJatlon). ete., trf the iforesaid publiratkn f(V the date sbbwti in the alxne caption, rrquimi by tbc Act of Aiwwl a. 1912. atfbofhcd tn section 443, Postal Laws uid Rccu- IM*****, prilled on the reversp oT lbt« fonn. to wit: L That the iiafi md addreaan «C the pnUislier, nittor. -'■'■-^'"g «tiilar, and hvinoa manners «c: PobtLibn-. THE M. P. PUBLISH- ING COl. 175 DuflMd St., BrmUju. N. T.. ICditor. EUCSXE r. BREWSTKR. 175 Dafflrid St.. BrDoUyn. N. T.. 3fanasfaw EOiKv FREDERICK J. SMRII. 175 Xtaffletd St.. BrooUjm. N. T.. Bnatecn BCanaccr. GUT U HARRINGTON. ITTi Dafflrid St.. Brookljn. K. T.. 2. That the ovum ur: (Gir<f> namrs and addrcavrs of indiildaal owners, or if a conioralion. cive its nama and the maaMS and addrewn at itoridiolden o»ntoc or hoMing 1 per ctnt or move of tlw total aBoant t£ Moefc) EUGENE T. BREWSTER. 175 DafBtid St.. Bmidni. N. T.. EDWDC M, LA ROCHE. 175 Ditfeld SL, Bnvoklyn. X. T.. ALBERT E. SMITH. E. 15Ui St.. and Loraat Awe., ^ooUrn. NL T.. EUZA- BKTTH'M. HEIXEMANN. 175 Duffletd St.. BRMkljn. JX. T.. ELEANOR V. BREWSTER. 175 DnSeld St., BMoUyn. K. T.„ WM. ROCK. K. ISth St., SMl Lonnt Ave., Bmhlim. K. T., GASTOX MELI^. 32S Lexincton Ave.. New Tork Citr. 3. That Ibe known baBdholder&. BDrtcasrts. and other semiitT halders ewninK w hofcHng I |per ecnx or aaorv of total anoont bond». ■oetcn^it or other seraiities atv: flf there an none, an Male) NONE. 4. That the two paracrapba next abow, ctrinc the names of the awneni, storkhoMevn, and aecoritj bolden. tf tma. eootaln not onlj the iKt <J stockholders and aeranty holden ■K they avpear upon the books of the eompanj. bat abo in caaea wheie the stockholdas or aecoritT holdos appear upon the books of Oie company as tzvstee or in anr other OdndarT relation, the name of tlw pcraon or cmpuratfon for whom sorh tmatee is setinc' ia siren: abn thai the said two paracrsphs cootain Btatcments ewheaitpg ananfs fnJI knowledce and belief aa to the ctonna- ataners and eondltiaas ander which <itorUiolder<i and secvrtty botders who do not appear opon the books of the company as tnatees. hohl atork and aemrlties In a rapacity other than that of a bona tide onmer; and this ailiaDt has no reason to bellenf thM anr other iiersoh. aasoriatloa. or cnrporaliou bas any in- terest cUrect or indirect in the said Btork. hoods, or other aeenr- fttes than as so statevl by bfm. 5, That the areracc nwnber «f ee|d<s of eneii tmne of this poMScatioD mid nr <ILitrilMiled throuch the mails or otherwfae. to paid subscriber* diuiac the all moaitln imudlut the date shown aboR' ia^fTTiU informtfon to re- unbed from daOy pnbUcatiana otdy). EircEXE T. BREWSTER. (Slsnataiv of editor. pnUtsher, bostnesa ntanacrr, or owner). Sworn to and nhocTibed ttefore me this 29tb da* of September. 1»19. K M. HEINEMANN. iXj comntisaion expirvs Uarcb 3». 1919.) llfllllllllllilliliW Tdephone 5499 Bfain cfhe IDm. q. tietuitt r— Press "•■" —i PRINTERS and BINDERS Sfarty-ooe to Sixty-seven Navy St. BrocAlyn, N.Y. 20 22 24 28 THE GIRL ON THE COVER (Painled by Leo Strike, Jr., from a photograph by Campbell Sludioi.) Probably no player who has yet graced the silversheet has ever received the vast publicity campaign accorded Marion Davies, the star of International pictures. Miss Davies, it will be recalled, was very well known on the musical comedy stage before she invaded the celluloid world with "Runaway Romany." Widely known as a footlight beauty. Miss Davies proved to be a remarkable Camera beauty, as welL She has been steadily developing in the 61ms. Photogravure Gallery of Players. Full page studies of" Pace Lou-Tellegen. Mary Miles Minter, Corinne Griffith, May Allison 'and June Caprice 11-15 Bartfaelmcss: The Boy. A composite study of the beloved Yellow Man of "Broken Blossoms" Frederick James Smttk lo The Youngest of the House o' Ha in stem. Elaine is the junior of a famous family C. BIythe Sherwood IB The Owner of the "Uncaa." No other than John Bowers, who is one of our few seagoing leading men. . EHaibeth Peltret The Amazing Interview. An infomuU littltv chat with the real Norma Talmadge Failh Service An OU-Fashioned GirL The happy life of Mary Maclvor and her hubbv. William Desmond FrUzi Remont The Holidays in the Theaters. The footlight successes at Christmas time '■■' 26 On Vamps and VanqMng. Dorothy Green tells what she thinks of the screen adventuress Ethel Rosemon If I Were King. WiUiarti Famum's newest romantic pho- toplay told in interesting fiction form OSve Carerv 25 Krich Von Strobeim and the Miracle. The story of the man who a short time ago was a life-saver on Lake Tahoe Maude S. Cheatham 34 The Director-Diplomat. Edward Jose, master statesman of the studio Mary Keene 36 The Cinema Comes to Carleton. A breezy chat with William, Jr.. Elsie Ferguson's leading man Harrirlte Vnderhill 31 The Gorgeoos (Horia 38 Victory. Short story based upon the silverscreen version of Joseph Conrad's famous novel Faith Servtce 39 At the World's Foremost Screen Theater. Interesting scenes at the New York Capitol Theater 44 The Hidden Egyptian. The vivid Edith Storey and her return to the world of motion pictures Elizabeth Peltret Marie: the Mystic Marie Walcamp and her odd vein of mysticism Fritxi Remoni The Girl From Ont Yonder. Fictionized version of Olive Thomas' newest screen vehicle Dorothy Domnell Double Exposures Conducted by F. J. S. The Cellnloid Critic The newest photoplays in review. . Frederick James Smith Filming Treasure Islatid The Riddle Man. Meaning William Russell Pearl Mahem An Earle and His- Dixnain. Mr. Williams in Snnny Cali- fornia Look for the Last Minute Features in the Advertising Section. Subscription. $2.50 a yrar. in advaocr, indndtar postaiEC in the U. S., Cuba, Mexico, and Philippfnes^ in Canada, $3.00 a year; in foreign cowitrica, $3.50. Single cOfMcs. 25 cents, postage prepaid. One- and two-cent stamps accepted. Sabscriliers ranst notify ns at once ot aMj change of address, giring both old and new address. Entered at the Brooklra. N. Y_ Poat OCce a< Seomd.cIaaa Matter. CopTright, 1919, br the M. P. PnbEskiiig Co., in tke Dniled Slates and Great Britain, a New York corporation, with its princmal oSces at ^yshore^ N. Y. Eogene V. Brewster, President; J. Stnart RUil.ton, Vice-President; Gay 1.. Harrington, Vice-President; E. M. Hcineamm, Sccrctarr; ElcaBor V. V. Brewster, Treasorer. " STAFF FOB THE CLASSIC: ' ■Ttinli ▼. Brewitar. WIl.i F»«<Mh> I- n»lll. Maai^ctaw EdH«^ Dorothy Donnell, Robert J. Shores, Friizi Renoot Associate Editors Gay L. Harrington Business Manager Duncan A. Dobie, Jr Dtrcctor of Advertising Rufns French, Inc . Eastern Manager .Archer A. King, Inc Western Manager Mriz B. Hayes \rw Enfland Manafer 46 48 50 55 56 38 59 60 m (rite) Thj^ Buca^nv, pablisiied monthly, comes o«t on the 15th. Its cMcr sastcr, the MonOM PicnniK Macazibk, ciMBcs out'oD the first of ctct7 month. Swabowluiv appears oo the 23tA ot each mfth. tntnung^/Tiitiiorshtp ^^"^"^ ftjWteWrftie.WlurftoWrile. and Where io sell. CiAnUe yov •muL DnUop yowr wktr^ry nfts. Notawr the «vt of a^-ci^mtfsion. Moks IKMT «pat« Hna* pro^^ddble. Ivm ycvr id#a< mlo 3oILn«. Coursea in Short -Story Writ- iocVeraiBcation, Joumabsm, Play Writing, Photoplay Writing etc, taufbt pcnoa- Dr.E5«nWein al»y by Dr. J. Bert E«=nwein. lar many y«ar* etfitor of Lippincott'i Mae^xine, and ■ ataff of hter^ry experts. Coostructrre critiasm. Frank, honest, helpful mAvicc. /fc^ tcMJiing. %0ritimg mtamw. . otfacT loatitubaB or atB^BCy doinc ao mocb for [ or old. The tsuv^raitia reoocnuc thim. for over laba-i oi tbc ^''^g*^* CToitira al tucbcT Bubto- c umiyg^ IB Ota- Utcnry DcpTtinent- Tbc editors c it.(ar they ■«< Xfif Home Cbrrespoiuknce Sdiool Dcpt. 1 1 2. SpringfieLd, MoAS. fflMIMIWffrMITW- PAINTING AND SKETCHING CELECT your own ^ subject — love, patriotism — write what the heart dictate^ then submit yoor poem to us. We write tbe mcomic and wamrmattee: pwbliefc- Our compoeer ■ Mr. Leo Friedman one erf A]Berica*B wcO^known muticiati*. die aathor al ouoT •OBC «uixij»L». audi as "Mmt M4t TomgU m l>F»i»ili *.- "Ul Ut CmU Yam SmtHmml." 'Whtm I Dnmm t<OU EHm," and othen the niei ml wtlt^ tmm itm mi «t CTi»»«i ■■ r«B wMl »Mi*t o»tov. Ova ■ Stage Plays That Are Worth While (Readers in distant towns will do well to preser\e this list for reference when these spoken plays appear in their vicinity.) TRK Imm Ulnd Sctool of An offen cxCfOcal CiaMaB !• a^Mtnui and mn atDiloits. Our oitcai iBMJUMkn HtMlnale* tht tlBV^«ani r Io niiiiiumi I la luidjrapr pslm- Ms. PVOi w laatrwd IB a uctmlqiM bom nited to tkHr liM>inw in and ■Ulltj. « iTAfvi wUdI wlU i^Htv ^n III, an all year armscti allow tba ■ ■■hall to bcKlB tb«lr coarse at ajij Umt. Ow dtr ■■MIM Bi« alwaja oven to our pupUa li* crlUdak «i. aailmta wbhtnc to Bl«r ax our U 1- atudloa for A* MMI^KV. wtu find ezcellou tioardlrK ixar-lv- rnwiH* aotlal affair* will Ivinc tlica In pef^aoal iiaail wlKk ^nj cT «v aaat favaM sftlila. Addna LONG ISLAND SCHOOL Or AR.T I7SJ7 5-177 I>uffl«U St. Bnkoklrn. N.Y. I ^jfor. — Fay Bainter in "East U West." The I story of a quaint little Chinese maid who falls in love with a 30ung American. Racial bar- riers seem insurmountable, but there is a hap- I py and surprising ending. Has all the ingredi- I cnts of popular drama. Miss Bainter is pic- I turesqucly pleasing. I Century. — "Aphrodite." Highly colored and lavish presentation of a drama based upon Pierre Louys' exotic novel of ancient Alexan- dria. Superbly staged adaptation of the play [ that cau.sed a sensation in Paris. Dorothy I Dalton, the screen star, returns to the sUge in I the principal role of the Galilean courtesan. I Chrvsis. and scores. McKay Morris is ad- ! mirable in the principal male role. The ballet, directed by Michel Fokine, is spirited and colorful. Cohan and Harris.— "The Royal Vagabond " A Cohanizrd opera comique in every sense of the words. A tuneful operetta pins Cohan ?peed. pep and brash American humor. .\lso tinkling music And a corking cast, with Grace llsher, Tessa Kosta, John Goldsworthy and Frederick Santley. Cosmo.— "The Little WTiopper." Lively and amusing musical comedv with tuneful score by Rudolf Friml. Vi^enne Segal pleasantly heads the cast, which also numbers Harry C. Browne, who does excellent work, Mildred Richardson, and W. J. Ferguson. Comedy.— "Uy Lady Friends." Highly amusing entertainment adopted from a Conti- nental farce. Much of the humor is due to the able work of Qifton Crawford in the role o£ a guileless young manufacturer of Bibles whose efforts to spend money get him into all sorts of difficulties. June Walker scores in Mr. Crawford's support Eltingc— "The Girl in the Limousine." A daring, boudoir farce, by Wilson CoUison and Avery Hopkins, centering about a bed, which is invaded by every member of the cast during the evening. John Cumberland is very amus- ing, and prett>' Doris Kenyon, fresh from the screen, lends every aid. George M. Colian's. — Elsie Janis and her gang. Lively entertainment built about the experiences of the A. E. F. on the other side. Well put together by Miss Janis, who shines with decided brightness. A pleasant entertain- ment. Clobe. — "Apple Blossoms." The ambitious and much heralded operetU of Fritz Kreisler and Victor Jacobi, plus colorful Joseph Urban settings. An offering far above the musical average. John Charles Thomas sings admira- bly. Wilda Bennett is an attractive heroine and Florence Shirley lends a piquant person- ality to the proceedings. Hippodrome. — "Happy Days." Big and spec- tacular production t>-p<cal of the Hippodrome. The diving girls are again a feature, disporting in the huge "Hip" tank. //•«<xoii.— "Clarence " Booth Taddngton's delightful comedy, built about the way a re- turned soldier reunited a disturbed but typic- ally American household. Superb perform- ances by Alfred Lunt, Glenn Hunter and Helen Hayes give the comedy a fine verve. //ofTii. -"Wedding Bells." A light and highly amusing comedy by Salisbury Field. \dmirahly written and charmingly played by Margaret Lawrence and Wallace Eddinger. One of the things you should see. Henry Miller's. — "Moonlight and Honey- suckle." Ruth Chatterton in a charming comedy that might have been a big hit had the playwright taken full advantage of some Splen- did situations in the last act. As it is, it starts like a hare and ends like a tortoise. Maiine Ellioll's. — "The Unknown WoniaiL" .\ very emotional melodrama with Marjorie Rambcau in Bendel gowns and tears. Jean Robertson contributes a vivid bit as a "dope." Morcsco. — "Civilian Oothes." A delightful comedy to please evcr\-body. Brand new idea and cle\'erl}' worked out. Thurston Hall in the title role shares the honors with beautiful Olive Tell. Suppc.rt excellent. P/oy/iOujc— "Palmy Day>." A picturesque drama by Augustus Thomas, in which Milton Lackaye does the finest work of his career since "Jim the Penman." Plyiiioiilh.~"The Jest," Arthur Hopkins production of Sem Benelli's colorful and grip- ping Florentine drama. John and Lionel Bar- rymore arc again seen in their original roles. An admirable cast and Robert Edmund Jones' settings lend splendid aid. Princess. — "Nightie Night." Described by the program as a "wide awake farce," "Nightie Night" lives up to its billing. It has plenty of verve, ginger, and some daring. There are scores of laughs. Heading the very adequate cast are Francis Byrne, Suzanne Willa, Mal- colm Duncan and Dorothy Mortimer. Shuberi. — ^"The Magic Melody." A "roman- tic musical play" with a tuneful score and a picturesque Willy Pogany setting. Charles Purcell, Fay Marbe, Julia Dean, Earl Ben- ham and Carmel Meyers, the last two well known to the screen, head the cast. Tliirly-ninth .Street Theater.— "'Scandsi," Cosmo Hamilton's daring drama which Con- stance Talmadge played on the screen. Fran- cine Larrimore and Charles Cherry have the leading r6!es in the excellent footlight produc- tion. ON TOLIR "Ah Exchange of Wives." Another Cosmo Hamilton comedy which, however, never at- tains the spontaneity or piquancy of "Scan- dal." The chief blush-inducer is a scene on a sleeping porch. , "See-Saw." — A pleasant musical entertain- ment. The delightful Elizabeth Hines stands out and Dorothy Mackaye is pleasantly cast. "She Would and She Did." Grace George in a light (very light) comedy founded on a little hole in the golf links which Grace angrily made, resulting in her suspension from the -club for two months. Society and golf folks will probably find this an entertaining little play. E. H. Sothcm and Julia Marlowe in Shakespearean repertoire. These artists rep- resent the best traditions of our theater and their revivals of "Twelfth Night," "Hamlet," and "The Taming of the Shrew," are distin- guished in every sense of the word. "The Better 'Olc." The Cxibum production of the musical comedy based upon Bruce Baimsfather's new immortal cartoon creation. Old Bill Mr. Cobum's characterization of Bill is still as remarkable as e\Tr. "A Lonely Romeo," with Lew Fields. A lii^t show running in the usual groove. Frances Cameron, who is developing remarka- bly, is the bright figure of "A Lonely Romeo." while Mr. Fields is hisJuunorous self. There's a decidedly funny scene in a men's hat shop. "Chn Chin Chow." An opulent and beautiful musical extrax-aganza based upon the Arabian Nights tale of Ali Baba and the Forty Thieves. Dazzling series of sensuous stage pictures. "Oiu CMn Chow" is presented this year with an entirely new edition and new costumes. Marjorie Wood makes a colorful desert woman, Lionel Braham is very effective as the robber sheik and Eugene (Towles makes the role of steward stand out. George Rosely plays the young lover admirably. "La La Lucille." Musical comedy built around the efforts of a loving couple to ar- range a divorce in order to live up to the lerms of a millionaire aunt's will. A co- respondent is engaged and troubles begin. John E. Hazzard and Janet Velie play the would-be divorcees, while Marjorie Bentley and Helen Oark give able assistance. Light sonuner en- tertainment The Shuberi Gaieties of igig. A lively revue /with scores of statuesque girls and sttmning frocks. A decidedly attractive entertainment. MOTION PICTURE CLASSIC "John Ferguson." A straight drama ihat compares favorably with anything of the kind that New York has seen for years. Beauti- fully staged and acted. Masterpieces of tliis kind should be liberally patronized to encour- age others. George White's "Scandals of 1919." All sorts and \^riations of dancing make up for a lack of story or humor. The real star is piquant little Ann Pennington — as seductive a little iazzer as ever shimmied on Broadway. Then there's the lively dancing of Mr. White himself. "Friendly Enetmes." This is the record- breaking comedy drama of last se^ott, with Louis Mann in his original role. "At 9:45" An absorbing melodrama by Owen Davis. One of those thrillers in which every one in the cast is suspected of murder until the hiial curtain. Marie Goff proves to be a genuine discovery as the heroiue, and an excellent emotional performance is given by Edith Sha>'ne. "Three Wise Fools." Austin Strong's hu- man little drama of three crusty old bachelors who are bequeathed a young woman and who are subsequently rejuvenated. Melodrama with a heart throb. Helen Menken gives a striking performance of the nerve-racked hero- ine, while Claude Gillingwater is a delightfully testy old Teddy Findl'-v. "She's a Good Fellow." A light but pleasant musical comedy built about the efforts of old folks to break up a marriage between a loving 3'oung couple. Joseph Santley is a likeable lover-husband, masquerading in skirts for a whole act Iv>' Sawyer, the very pleasing Ann Orr and Scott Welsh lend delightful assist- ance. "Listen, Lester" Lively, dancy show with considerable humor. Cast includes Gertrude Vianderbilt, Clifton Webb. Ada Lewis, Ada Mae Weeks and E^die Garvie. "39 East" A charming comedy founded on a boarding school romance in which many in- teresting characters make love-making difiicult for a pair of j'oung lovers. . "Up in Mabel's Room." Piquant, daring but decidedly amusing farce built about the pursuit of a dainty pink undergarment which bears the same name as a recent jazz dance. Admirable cast, including the radiant Hazel Dawn. "Up in Mabel's Room*' is an admirable example of well-knit farce. "The Unknown Purple." Interesting and well sustained thriller. The story of a convict who discovers a way to make himself invisible, transforming into a purple ray, and who starts out to get revenge- The invisible man steals necklaces, opens safes and passes thru doors. Richard Bennett gives a vigorous performance of the human ray. "Take It From Me" A comedy with music, in which a sporty young man falls heir to a department store and runs it according to the latest musical comedy methods. "Three Faces East." Another Secret Ser- vice-German spy drarti^ this one by Anthony Paul Kelly, one of our most successful photo- playwrights. The principal charm of this play is in trying to guess who are the German spies and who arc the Allies, just as we were puzzled in ''Cheating Cheaters" to know who were burglars and who were not. LEADING PICTURE THEATERS. Loew's N. V. and Loew's American Roof. — Photoplays; first runs. Daily program. Loea/s Metropolitan . Brooklyn. — Feature photoplays and vaudeville. Riz'oli. — ^De luxe photoplays with full sym- phony orchestra- Weekly program. Rialto. — Photoplays supreme. Program changes every week. Strand. — Select first-run photoplays. Pro- gram changes even,' week. Capitol. — Special screen prtKluctions phis a de luxe "demi-tasse" revue. An extraor- dinarily beautiful playhouse. (Seven) AN APOLOGY AND AN EXPLANATION On October ist, 1919, practically all of the printers and type- setters in and around New York went out on strike, including those who print this magazine. Without going into the merits of the controversy between the employers and the employees, we will simply say that we had no voice in the matter one way or the other. Several labor unions had differences among them- selves, and these differences caused the Publishers' Association to refuse to comply with the demands of certain labor unions. We do not belong to the Publishers' Association. That body conducted all the negotiations. When the printers and com- positors walked out, it was not in our power to make them walk back, even if we had been willing to give them everything they asked. Had we terms with one union, another union would have refused to handle our paper, and another union would have refused to make the plates which are necessary for us to have. In other words, our hands were tied. We were helpless. Some publications were fortunate enough to have some of their printing done for them in distant cities, some had it done by some other process (such as typewriting photographed) and some could not have their work done at all. The strike did not end until the latter part of November, having lasted nearly two months. During this time we did everything possible to supply our readers with this, their favorite magazine, on time and in good condition, but such was not possible. We left no stone unturned and were willing to go to any expense, but in spite of every effort, we were unable to meet the schedule, hence we were late. Furthermore, the magazine that you received was not the one we intended to give you. When the strike came on, this magazine was partly made up and partly printed, but we were unable to move either the type or the parts that had been printed. We managed to get out a MAGAZINE, but it was not the kind of magazine we wanted, it was the best we could. We could not even print an explanation and an apology, hence this one. We hoped, and still believe, that all of our esteemed readers, even those in distant parts, had heard of the great tie-up strike and that they would patiently wait. Some of our contemporaries took advantage of our extremities by issuing extra large editions on an advanced date, hoping thereby to secure some of our readers, instead of extending us the brotherly hand and saying, "Is there anything we can do for you in your distress?" We hope that they have largely profited by their business sagacity, but we be- lieve that we have not lost a single reader. Once a reader always a reader. We are now fully recovered from the disaster and from now on our readers may expect the finest magazine possible We have done this for ten years and we can do it now. WATCH US. THE M. P. PUBLISHING CO. Why Do People Like AV^Uiam S. Hart and Dorothy Dalton WHY is Dorotfav Dalton so well loved by her follower? Why does William S. Han attract and hold the admiration of almost every one? They both know the secret of nuking people Ukc them. If DoToth) Dalton and William S. Hart can do the thing that makes themselves liked by ihe most cosmopolitan audience in the world — people the>- never see — think how much easier it will be for yon to master this ability — win the confidence and liking of the people with whom yoo come in ccmtict. You too can have the power of making people like yoo. For by the same method used by Dr. Illackford in analyzing Miss Dalton and Mr. Hart, yoo can, at a glance, tell the char- acteristics of any man, woman or child^ell instantb their likes and dislikes, and YOU CA.\ M.\KE PEOPLE LIKE YOU. Here is how n :s done. Everyone you know can be placed in one of two general types— blond or bmnet. There is jts big a difference between the characteristics of a blnnd and those of a bnmet as there is between night and day. You persuade a blond in one way a hmnct in another. Klonds en- joy one phase of Ufe- bnmets another. Blends make good in one kind of job — bruncts in oae entirely dilTerenL To know these differences scientifically is ^e first step in judging men and women; in getting: on with them; imtstering their minds; in making thenf like you; m winning their respect, admiration, kive and friendship. And when yon have learned these differ- eiicr»— when yon an tell at a glance just what to do and say to make any man or woman Hkc yju, yoor success in life is assured. What Dr. Blackford Says {Partial OMOlysit tmade frorm Photog rapks\ Miss Dalton has'a particDlarly fine physical iirganization. She belongs to the vital-motiTe trpc. Note the roundness of her features and tlic fullness of her figure. Tlie motive qualities show in Uie squareness of her face in full front view, and in the graceful poses and movements of her body. She lias splendid recuperative power. This gives vivacity, responsive energies, warmth and enthusiasm of nature. Miss Dalton is distinctly feminine in type. Note the slightly concave nose, tilted up at the end, the soft cnrves of her face and body, and the cnpid^low lips. Feminine characteristics are further shown in her lar^e, soulful eyes, her long, curling lashes, and the subtle humor and coquetry m her facial ex- pressioo. Miss Dalton belongs to the convex type, with the exception of the nose, which is plane tending to concave. Convexity of features indicates keeilness, quick responses, quickness in action and directness in speech. These qualities Miss Dalton manifests in her quick responsiveness to conditions of environ- ment, in her quick comprehension of artistic values and her readiness to iKake the most of a dtamatic situaticm. She is very emotional and strongly sentimental, and appeals to- these qualities in her audience. One loves Dorothy Dalton because she has the alt of winning yooT affecticm through her heart appeaL Paul Graham was a blond, and not until He had learned that Ihere was all the difference in the worM between the characteristics of a blond and those of a bnmet did he discover the secret of making people like him. Paul had been keeping books for years for a large corporation which had branches all over tlie country. It was generally thought by his associates that he would never rise above that iob. He had a tremendous ability with figures — could wind them around his little finger — but he did not have the ability to mix with big men ; did not know how to make people like him. What Miss Dalton's Manacer Says: Then one day the impossible happened. Paul Graham became popular. Business'men of im- portance who had formerly given him only a passing ncd of acquaintance suddenly showed a desire for his friendship. People — even strangers — actually went out of their way to do things for him. Even he was astoimdcd at his new power over men and women. Not only conid he get them to do what he wanted them to do, bat they actually anticipated his wishes and seemed eager to please him. From the day the change took place, he began to go up in business. Now he is the Head Anditor for his corporation at an im- mense increase in salary. And all this came to him simply because be learned the secret of making people like him. Another example — the case of a large maim- facturing concern. Trouble sprang up at one of the factories. The men taSced strike. Things looked ugly. Harry Winslow was sent to straighten it out. On the eve of a general walkout, he pacified the men and headoi off the strike. And not only this, but ever since then, that factory has led all the others for prodoction. He was able to do this, because he knew bow to make these men like him and to do what he wanted them to do. Another case, entirely different, is that of Henry Peters. Because of his ability to make people like him — his faculty for "getting under the skin" and making people think his way, he was given the position of Assistant to the President of a large firm. Two other men, both well liked by their fellow employees, had each expected to get the job. So when the outside man. Peters, came in, he was looked upon by everyone as an interloper and was openly disliked by every person in the office. Peters was handicapped in every way. But in spite of that in three weeks he had made fast friends of cvcrytme in the house and had even won over the two men who had been .most bitter against him. The whole secret is that he could tell in an instant how to appeal to any man and make himself well Hked. (Kigkt) A certein woman who had this ability moved with her family to another town. As IS often the case, it was a very difficult thing for any woman to break into the chill circle of society in this town if she was not known. But her ability to make people like her soon won for her the close friendship of many of the "best families" in the town. Some people wonder how she did it It was simply the secret af work — ^the secret of judging people's characters and making them like you. You realize of course that just knowing the difference between a blond and a brunet could not accomplish all these wonderful things. There are other things to be taken into ac- count. But here is the whole secret. You know everyone does not think alike. What one likes another dislikes. And what offends one pleases another. Well, there is your cue. You can make an instant "hit" with anyone if you say the things they want TOU to say and act the way they wani'you to - act Do this and they will surely like you and believe in you and go miles out of their wav to PLEASE YOU. You can do this easily by knowing certain simple signs. In addition to the difference in complexion eveo' man, woman and child has written on them signs as distinct as though ihey were in letters a foot high, which show yon from one qnick glance exactly what to say and to do to please them — to get them to believe — ^to think as you think — ^to do exactly what yon want them to do. As tmerringly as Dr. Blackford has told the characteristics of Miss Dalton and Mr. Hart yon can tell the weak and strong points of character in everyone you meet. Ill knowing these .'•imple signs is the whole secret of getting what you want out of lifc-r making friends of business and social advani. tage. Every great leader uses this method- That is why he IS a leader. Use it yourself and you will quickly become a leader — noth- ing can stop yoiL You have heard before of Dr. Blackford •he Charaaer Analyst Dr. Blackford's de- velopment and application of the science of Character Analy^sis has been built «on a sohd foundation of direct professional study of all kinds of men and women. After years of ex- ten.sive consulting work among business con- cerns, merchants, manufacturers. Chambers of Commerce, and trade associations. Dr. Black- ford made a trip around the world, observing widely different races, comparing notes with leading specialists of forty nations, comparing theories with such famous authorities as Al- fred Haddon, Metchnikoff and Giuseppe Sergi, and studying the exhaustive records of Ber- tillon. So Dr. Blackford's store of ideas in the realm of human relations has become probably the most carefully arranged exhibit of facts on cliaracter stndv in the United States. " . It is not surprising, therefore, that many concerns will not employ a man without first getting Dr. Blackford to pass on hmi. Con- cerns such as Westinghouse Electric and Manufacturing- Company. Baker- Vawter Com- pany, the Lanrentide Company, Ltd., and many others^ pay Dr. Blackford large annual lees for advice on dealing with human nature. So great was the demand foi- these service*, that Dr. Blackford could not even begin to fill an the engagements. So Dr. Blackford has explained the method in a simple se»'en- •eson coarse, entitled, "Reading Character at Sight" Even a half hour's reading of this wonderful course will give you an insight- mto human natiue, and a pow-er over people which will surprise yoa. Such confidence have the pubUshers in Dr. ".•"cfcford's Coiu-se, "Reading Character at Sight," that they will gladly .send it to you on approval, all charges prepaid. Look it over thoroughly. See if it Kves up to all the claims made for it If >-ou do not want to keep it, then rctam it and the transaction is closed. And if you decide to keep it— as you surely What Dr. Blackford Says [Partiaf analysis tuade from Photographs] Mr. William S. Hart is a fine c&amplc of a ketn intel- lect, dominating and direct- ing both the activities of his muscles and the play of .his emotions. This characteris- tic enables its possessor con- sciotisly and uncrringlr to express in the finest shad- ings of posture, gesture, walk, and features, just the meaning he wishes to con- vey. This is shown first, by the height, breadth and depth of his forehead and the keenne« nf hi. fl!- "^■*^''"^ intellectual power ol penetration ; second bv the length an"firm^« of hie ?. J^L p£;3S*iTc"^tir''"' "' cmotion-and the length and fineness of Si? chil. tTa^ng c'o^trTTf Keen observation is shown in the fine development of the lower oart of th*. inr-h^ i _^--». - aliiO as 1 basis for jtidKineDt as to what will plijast thtm in the pictures. sjrmpatlues, bat One of the most marked traits about Mr. Hart is his determination which is d»>-_ ^ .1,- n.s.r^'^^st^.i'^'-n^i^^^^^^^^s^'t:^ ^d^'f's'f'eh^^ '■•« -■"•^-o hjs ^^r-.^ L™ws "ETw f^^i^-s. "J^ssi'^nf i^~^,rr;;faAre.n^-in"^ 5SfeVd^•^B^'ti"'an7•SSlc',es.*"™-' ""^ *'^' "■" '^' ''"^^^tion tVU^'plSTlhS. "^ . .J^'^ "* I"*!""" «•"<* liTK^Iy eipUm Mr. Hart's stu»~ss in motion nictnm ht h, ,AA. to them an miusoal capaoty for concentration. He not oniT starts, bu. ^o ^.^fTu^' ^ ^. and difficult the job, J.e sticks and he finishes. ^ ° """" '""• 'b««r«»»>fc will— then merely remit five dollars in fnU payment Remember, yon take no risk, vou assume no obligahon to buy. The entire "course goes to jou on approval You have everything to ^. '■??"' *^"' ''°* *° ""^f: people like you. whde this remarkable offer is still on. Indq>endent Corpcx-atkm Publishers of the Independent Weeklv DfVt- B-S7I. 119 West 40th St. Nei' York. You may send roe Dr. Blackford's Course of seven^ lessons entitled "Reading Oiaracter at Sight" I -will either remail the course to you wthin five days after its receipt or send you $5 in full paj-mcnt of the Coiu-se. Name Wliat Mr. Hart's Manaccr Siqrs: Address M. P. CiMrtc l-M If you loDg for more color Csr tku immtotu tre*tmtnt for rounuf slugg%sk sk%m lost before rctirittf. »***» TO"*" Ucc »nd neck wilh plrnly o* Wood btU7** Kacial Soap xnA warm water. I( your »kin ha* been badly neg Icctrd, rob a genfroo* lather thor- Ottshly into the pores, mm% an up- ward and outward motion. Oo llm tintil the »kin (eels somewhat ■rnvtive. Rinse well m wami water, then in coW. Whenever pc«siblc. rub your skin (or five min- utes with a piece ol ice and dry carefuny. For pale, sallow skins grealer stimntation. requinnc the nrw treatment. You will find it .J the booklet wrapped around every cake o( Woodbmr'* Facial Soap. To make your skin noticeably lovely - Give it the reguW care it had when you were a baby When you were a baby, your skin was exquisitely soft — clear, delicate — daintily rose-pink and white. People loved to touch your rose- petal cheeks, your soft smooth little hands. Do you ever stop to think what kept your skin so fine and soft? What is keeping it now from be- ing as fine and soft as it can be? No matter how you have neg- lected your skin, you can make it exquisite in texture. You can have the glorious color of youth. You must begin at once to give . your skin the tender, regular care it received when you were a baby. Every night Ijefore retiring, cleanse it thoroughly — just as thoroughly as a baby's skin is cleansed every night. If your skin has lost its delicacy and clearness, use the particular Woodbury treatment indicated for its needs. Do you want more color? Are vour pores enlarged ? Have you disfiguring blemishes or black- heads ? These conditions are the result of neglect and the constant exposure to which your skin is subjected. The right Woodbury treatment, used nightly, will cor- rect them. Get a cake of Woodbury's Facial Soap and have your first treat- ment tonight. The feeling the first two or three treatments leave on your skin will tell you how much good its regular use is going to do you. In a week or ten davs vou will begin to notice a decided improvement — the greater clearness, smoothness, fineness and color you long foi Woodbury's is for sale at drug stores and toilet goods counters throughout the United States and Canada. A 25 cent cake will last a month or si.x weeks. Sample cake of soap, booklet of famous treatments, samples of Woodbury's Facial Powder, Facial Cream and Cold Cream, sent to you for 15 cents. For 6 cents we will send you a trial size cake (enough for a week or ten days of any Woodbury facial treatment) together with the booklet of treatments, "A Skin Vou Love To Touch". Or for 15 cents we will send you the treatment booklet and samples of Woodbury's Facial Soap. Facial Powder, Facial Cream and Cold Cream. Address the Andrew Jergens Co.. 901 Spring GrOTC Avenue, Cincinnati. Ohio. Wrapped around every cake of Woodbury's Fa- cial Soap is the booklet, "A Skiu You Love To ToL'ch." It contaims set- cmtific adz-ice ok the skim and scalp, and fnil di- rections for alt the fa- mous Woodbury treat- ments. (Ten) LOU-TELLECEN. loTicssr Fhotocraph hj De Meyw liA.eCIC Photograph © by Alfred Chcnty JohnilM MARY MILES MINTER A IxMiisiuu (irl, little Miss Minter, then known as Juliet Shelby, served a lone stage apprenticeship as a child. Her real hit came in the girl in "The Littlest Rebel" with the Famums. "The Fairy and the WaiT' shortly after marked her silTersbeet ithat Photograph @ by Alfavd Cheney Johnston CORINNE GKIFFTTH Miss Griffith is nniversalljr recofnixsd as one of screenland's beauties. Bom in Texas, Miss Griffith started with Western Vitasraph — and she has since continued with that orfanization; altho society drama, nther than rugged frontier stories now serre as her Tehides MAY ALLISON May Allison is now accepted as one of our foremost comMiennes. Miss Allison is a Dixie girl and a member of the famous Wise family of old Georgia. The stage served as a stepping stone to the screen, where she first attracted attention as a leading woman for the late Harold Lockwood Photograph by Evans, L. A, § natetnsh bj Caapbdl Stndioi JUNE CAPRICB Miss Caprice is a Boston eirl- She made her film dibut as a star with William Fox in "Caprice of the Mountains" and a star she has been ever since. Jnst now she is under the Caprllani banner THIS is no conventional chat- for-an-hour interview — this composite view of Dick Bar- thelmess. For it is the product of many hours together ; in the country, in the city, under vary- ing conditions. I would shudder to write my impressions of Barthelmcss after seeing him once. He is too elu- sive, too much within himself. He sits half broodingly, saying ery little, laughing now and then ith typical boyish high spirits, tempered by an odd mi-worldliness. But to paint a word picture of im after one meeting would be impossible. I know that now I have not wholly found the real Barthelmess. But here and there in our con- versation flashe.s have revealed something of this boy who became famous over night for his Yellow Man in "Broken Blossoms." We first met after the premiere of the Griffith pro- duction He had everj- reason to have lost his head in the avalanche of praise. But he hadn't. A sin- gular mental balance is his. Indeed, he is the most nniisnal young actor I ever Barthelmess: the Boy met. Because be isn't the least like a player. None of the things we call temperament are there, just a down-right, reguhu', breath-taking boyishness. Not a slam-bang, certaiu- of-himself bojrishness either, but a quiet, introspective sort Just before this "interview" was written we went to a musical comedy together. Barthelmess didn't lan^ at the cheap humor of it. Neither did he assume a high-brow air in commenting upon its banality. But he was frankly — and boyishly — interested in the girls. Some one interviewed Barthelmess on the coast and pro- nounced him a shrinking lad who loved books. They dtdt^t see him as I saw him. Yet Barthelmess does lo-'e good books. He reads a great deal One night he dropped a volume of Blasco Ibanez to have dinner with me. But Barthelmess is many sided. He loves the feminine note in life. His ideal type of girl ? "Rather tall and slender," he said, (and I know he will shudder to read this), "she needn't necessarily be either blonde or brtmette, but she must be attractive." "What about brains?" we parried. Barthelmess paused. "I was thinking of an ideal dancing partner. Of course, I hope some day to meet a combination of beauty and brains. Possibly I have met them but they have not been able to see me for dirt." No coiKeit there. Yes, Barthelmess loves to dance. Cabarets appeal to him. But he confessed: "After two or three weeks of New York night life — with theaters and midnight dancing — I feel as if I were wasting myself. Sort of as tho I needed a mental bath." Then — odd as you may think — Barthelmess goes away into the country, near his home in Connecticut. "I have a quaint old room in a quaint old farmhouse," hf relates, "I sleep in a four-poster and I sleep. I read a lot and I dream. Somehow. I guess I like Dick Barthelmess -isn't the least like > pb^er. None of the things we call tem- pcrunent are there, just a down-right, regalar, breath-taking boyishness. Not a slam-bang, certain-of-himself boyish- ness, but a quiet, introspective sort that best of all." Did I .say Barthelmess is many sided? No, Barthelmess is not "tem- peramental" as the word is used in screen circles. Not that he lacks ambition. He has fought every inch of his way. His mother an actress. Bar- thelmess came from collie to try his luck on the screen. The role of the younger brother in Herbert Brenon's "War Brides" with Alia Nazimova, gave him his surt. But it by no means made him. He drifted, not quite able to do anything big anywhere. "I almost starved before my opportutiity with Griffith came.' he told me laconically, "really al most starved." Naturally Barthelmess looks (avteen) A Composite Study By Frederick James Smith npon Griffith with eyes of genuine worship. "He is more like a father than an emplojrer or the master the world sees," the young actor says. "Gee, 111 be glad when he comes easl I always feel that I can tell him all my troubles and atways be told just how to solve things?" That was before Griffith brought his studio staff eiist and b^;an producing in Westchester. (Right here let me add that the producer re- mailcs anent' Barthelmess and Bobbie Harron: "No cleaner minded boys ever lived.") Of course, Barthelmess just a bit envies the young stars of the celluloid drama who have every means, particularly financial, to advance themselves. "I wish I had money to buy plays and books now and lay them aside for a future day, when I shall have learned enough and made enough friends everywhere to be a star — that is, if that day comes." His favorite role? Not the Yellow Man but the lover with Marguerite Oarke in "Three Men «nd a Girl." He likes that sort of light romantic character best. Probably, "111 Get Him Yet" is his next choice. The Mexican vagabond hero of "Scarlet Days" interested •Barthelmess a great deal. "It was different, at least, to ride a mustang and wear a mustadie," he laughs. Critics have said that it was a boyish Walthall come to the screen, this stesitive, glamorous, dashing desperado with the haunting vein of humor and sadness. ^ Barthelmess has been playing a beachcomber m Bartfaelmeas loves mo«t of all to May at his old home in Connecticiit. "I have a <iiuunt old room in a quaint old fannhoose," he lays, "I deep in a foor-poiter and I aleep. I read a lot and I dream." Two viewa of BrthflmfM in "Scarlet Days" are iriiown on dieac pacea a forthcoming Griffith story of the South Seas. This will be his latest contribution to the screen — and a fascinating one it should be, with. Barthelmess plajring opposite Clarine Seymour, the famous "cutie beautiful.'' Miss Seymour por- trays a hula hula maid — and does it viv- idly, judging from our studio glimpses. But to return to Barthelmess. There is no question but that Dick holds a place all his own on the screen. Comparisons have been made with Charles Ray, but the two young men are poles apart. Youth alone makes them com- parable. Ray is the film's foremost ex- ponent of the genre school — Barthelmess of the humanely romantic school. The silversheet has needed just this touch. It has been missing since Wal- thall contributed his "little Colonel" to "The Birth of a Nation." The Yellow Man was the first idealistic touch of poet- ry since that lovable character. There is one vivid thingin Barthelmess' character that I haven't touched upon. {Cotttinued on page 74) (Senenleeiti The Youngest of the House o' Hammer- stein to be {Jaced, we didn't actually get started until three this morning, and mother and I didn't get home until five, and— O, well, the world's going around just the same." She laughed and curled up in a brocaded chair. I was glad it was near the window, because every now and then, as she turned, the light reflected the moist greynesS of her eyes, and from the twin- kle they flung out I knew I liked her right away— that she was the sort everybody liked— enor- mously^right away. She was so vibrant, so full of fun. . . _ "Yes, the suburbs of Phfladelphta. They were my background until I was seventeen," b^;an Miss Hammerstein. "I was brought up at a per- fectly dear seminary called 'The Armitage.' If it wasn't for 'The A r- The sut)urb« of PhiladelphU milage,' I suppose I'd were Elaine Hammerstein's (,£ a musical comedy background .inta she was seven- gtar today. So— thank teen. She was brought up m ■ »"■ ,^ t„, 'Th^ Ar. seminary caUed The Armitage.' the Lord for Ihe Ar- Across the page is a glimpse of milage'." Elaine and Myron Selznick, her Then she jovially manager ^Q^^ ^^ „£ jhe sum- rwas the first taste of November. Rak shot thru the air and there was suffi- cient chill to warrant furs and a wrap. Brrxl The soap-scented elevator lifted me to im- 4neasurable heights, where I got out amongst the clouds at the — th floor, and sailed in upon a soft atmosphere of blueness that was — heavenly. A maid told me to wait. (There are maids in these places.) And from my glory of azure velvet, underneath a lamp of golden tints, nooked out on the drizzle — doubting its reality. Elaine came into the room, and I saw the purple of her kimona, the grey of her eyes, and the tiniest auburn veil that glimpses thru her hair — and I knew movies were never like this! "Good morning," said Miss Hammer- stein. My maledictions on November changed instantly to enthusiasm for the sea- son. "Good morning. It's funny how I can say 'Good morning,' isn't it, when I thought a few hours ago that everything in the uni- verse was changed. You see, all day yester- day I was working on 'The Country Cousin' at Glen Cove. Last night we were called up- on to go to Scarborough to take some scenes of a garden fete, and, due to the many lights that had to be used, and the extras that had (SigM»tit) f^a By G. Biythe Sherwood mer she was vacationing in Canada. Elaine loves the outdoors. She is crazy about swimming, riding, paddling, and keeping generally fit for sportsmanship. Along towards the end of a glorious Au- gust came a note from her father which read, "Come home. I have had a part written for you in 'High Jinks'." Elaine's father is Arthur, and Arthur's father was Oscar — the late Oscar Hammerstein. The one. Elaine went. She rehearsed. And had a violent time with the make-up. For "The Armitage" even powder had been forbidden. And the day after the pre- miere at the Casino Theater in New York, Elaine — by the critics and by the public — was acclaimed a hit I Everyone went wild over the freshness and piquancy of Mr. Hammerstein's young, beautiful daugh- ter. They thought she had the most delight- ful, natural way. But no one, except Elaine and her mother and (Nineteen) Elaine Hammerstein loves tlie outdoors. She is crazy about swunming, riding, and boating. Indeed, she went on the stage in her father's "High Jinks" after a summer in the Canadian wilds her father, knew that she had never sung or danced before in her life! Miss Hammerstein laughed so deliciously as she confided all this to me now, but a moment later she sobered, when she recalled the nights thaf followed nights with her pic- tures in the papers — and how it hurt her — along with the way the people of the com- pany felt towards her because of that pub- licity. "I didn't care a bit for the old clippings, and worse than that, I couldn't stand the footlights, and the necessity of having to work on Wednesdays and Saturdays — when tITe sun was out — and on evenings when there was another play I wanted to see, or a party of my friends who were going off to dance or skate. It was a miserable time for me. The only nights that were happy ones were when the boys and girls from school would come and sit ip a box, and wave to me. And I'd return the salutations and forget the play — and father would send {Continued on page 78) JOHN BowEKS, leading man of many pictures, has just signed a contract for an- other year of work with Gold- wyn ; a year which — who knows? — may end with his becoming a star. He is very handsome, is John Bow- ers— but this could hardly be called news — at least six feet in height and athletic looking with dark eyes and chestnut brown curly hair. He tells a pathetic story about those curls which is worth repeating here in order to have it over with.. It seems that recently, when he went to see one of his own pkrtures run oflF at a local theater, he heard a violent argument between two women about his hair. One insisted that "no hair could curl naturally like that" and offered to bet the other "every cent she had in the worW" that it was marcelled. Let me say right here that he was more in- dignant than amused; he has done everything possible to keep it plastered down ever since. But to get to my interview : The fact that he is a good actor and handsome are not his only claims to distinction. Along the water front many people entirely unfamiliar with the famous ones of the stage and screen The Owner of the "Uncas" "When the northwest wind is blowing hard. And blue and while is the sky. And the sharp-cut waves are streaked and scarred. Where the darting squalls race by; When the leeward shrouds are whelmed in green And the leeward deck's a foam, \^nd a dancing wake all "white is seen Back toward the shores of home — OP,, that is the day mv heart would choose For setting sail on an Augtist cruise." —At. A. Dellolfe Howe. recognize the name of John Bowers just as soon as it is spoken. "Who, him?" one of these will say, "Why, sure! I know who he is! He's the owner of the Uncas, a racing yacht with just about the classi- est li'l record you ever saw ; bought her some little time ago — " It is this yacht that John Bowers thinks of as home. This doesn't mean that he has no love for the little white bungalow just two blocks from the Goldwyn studio, where he and Mrs. Bowers play at keeping house. He couldn't help being fond of it, the place is so pretty. And, too, "We have lived so long in hotels and apartments," he said, "that life in a real house seems like a game." But "a man's home is where his heart is," and on the day I saw John Bowers his heart was away off with the Uncas on the Hudson River. He was, I think, the most homesick young man in the world. It was a warm day in early August and a light breeze blew in from the Pacific, reminding one that Venice (and solid comfort in a bathing suit) was only about twenty minutes away. He was playing the part of a photog- rapher. He stood on a London roof at the Goldwyn studio ; a nice, solid, realistic roof about twenty feet from the ground with no house underneath, and under Frank Lloyd's direction, photographed the funniest family group I have ever seen. Director and John Bowers loves his yacht, the "Un- cas," nore than most anything else in the world. The * Uncas" is a $25,000 schooner yacht — a 70-f ooter — built on long, graceful lines, painted white and with fittings of ma- hogany fTtoenty) By ELIZABETH PELTRET cameraman were precar- iously perched on a mov- able platform opposite, which rocked lightly at their least energetic movement while an or- chestra, there for "at- mospheric" purposes, played teasingly a f e w bars from "Rocked in the Cradle of the Deep." "The Uncas is really doming," John Bowers said, joining me when the scene was over. "I've made definite arrange- ments at last. Hal and Doc Wilson (shipbuild- ers of Balboa, a sea-side resort near Los Angeles, and his inseparable com- panions on many a cruise) are going to oiake up a party of seven or eight people and bring her around thru the canal. I almost think I'd like to sleep until she gets here, the waiting will be so long ! Talk about your passionate love scenes — I'm going to stage one when that boat arrives." He was speaking lightly and whimsically but with an undertone of serious- ness. "I'm going to wade out into the Pacific to meet her and kiss her right on the bow-sprit !" He laughed at the idea but he was more than half in earnest. Anyone who has ever owned any sort of a boat knows that it may seem as vivid and living a thing as one's dearest friend and as full of unaccountable moods and actions. And when, in addition to this, she is a beautiful boat and fa- mous— well, one could not ask for more. And the Uncas is both beau- tiful and famous ; she has a raring record known among yachtsmen everywhere. She is a $25,000 schooner yacht — a seventy- footer — ^built on long graceful lines, painted white and with fittings of rta- hogany. Her staterooms are large and comfortably furnished. He could take nine guests for a thirty-one day cruise without their missing any necessities or luxuries. One does not won- der that her young owner speaks of her with all the warm en- thusiasm of a young man describing his sweetheart as "the only girL" John Bowers has been interested in boats ever since he can remember, he told me. The first one he owned was a twenty-one footer and he built her himself when he was still in his 'teens. He used to sail her around Lake Wawasee, (Iwtnt]i-&iit) John Bowers has a broad and characteristic philosophy — a belief that everything moves in cycles and that individuals re- turn again and again, each time OA a higher pliuie, until they reach perfection Indiana, and he grew so expert in handling Eer that the only "way he could get any excitement was by purposely "turning turtle" when he knew his parents were watching him, frighten- ing them almost to death and getting a lot of fun out of the many attempts to rescue h'm. He is, by the way, one of a {Continued on page 79) veasted in lien Photograph b; Puffer, N. \\ THIS is an amazing interview because, (this will require elucidation), it is not amaz- ing at all; that is, save as an interview. It is with Norma Talmadge, and the day I sallied forth to "get" her, I sallied pre- pared to be amazed. "Of course," I thought, subwaying jerkily along, "of course . . . young, very young, really . . . the ex- traordinary and undeniable touch of a real genius . . . widely acclaimed . . . at the top of the ladder, so to speak . . . things are bound to have happened in her as it were . . . sybaritic, perhaps . . . some distni;^iishmjf eccentricity . . . couldn't be helped ... I dont know just what . . . bat so met hint/ ..." Nothing at all. The girl who, admittedly, stared, some years ,igo, at the .screen and murmured to her mother, in the .sur- roundins; darkness, "That's what / want to do . . . be a movie actress," who, afterward, wandered solitarily about the \'ita- graph studio until she was given a chance — that self same girl talked with mc in her own stmlio, the Norma Tahuadgc Film Corporation, the other day. Talked tii//i me. not to me. I say that advisedly. In one preconceived particular I was right. She is young. Marvellously young. More as to viewpoint and general man- nerism, or rather, total lack of conscious mannerism, than cither line or tint. She is possessed of that sophistication which ap- pears to be unconscious of itself. She has ideals and does not attempt to conceal them. There is no thinly applied veneer of cvTiicism, nor, on the other han<l, is there the sugar-coated b.^by-staring of the curly ingenue. .'>he is just a girl with a soice of the divil in her and a belief in things . . . probablv Santa Claus and fairies. She appears to be quite unconcerned about herself, the eminence she has achieved, the altitude from which she could look down upon the lesser lights. A (if not the) consuming passion with her is her work. It is The Amazing By FAITH interesting to know that she really and absorbedly loves it ; not he resuhf only, generally she feels a dissatisfaction with them, but wth the work itself, the details of it, the everyday, all- night details. "I took a three months' vacation th>s ™e; she said, "or tried to and after about one ™"th "early went mad. 'Phoned the studio every day and finally cut it ; month short and got back imo harness 1 -ould never stand the gentle art of doing nothing. That would be too strenuous for me!" •Ronlah We had a plain chummy sort of an afternoon, B^ulah Livingstone, who does all of Norma's publicity and also that of wf sister, Constance. Norma and I. There was only one tentatively uneasy person present. That person was Beulah Livingstone. She had "arranged" the mtervievv and she was immensely anxious that the mterviewee and likewise the interviewer should, as it were, come up to scratch, buch did not seem to her to be the case. What possible press- value could result from two giggling people who seemed to be saying nothing more pertinent than admissions of jond- ness for the same brand of cigaret, for "hen parties and for certain unimportant persons having nothing to do with the intensive field of interviewing? U' hat mdeed thought Miss-Livingstone, prodding first Noniia and Norma Talmadge is young. Marvellously young. More as to viewpoint and general mannerism, or rather, total lack of conscious mannerism- She has ideals and does not attempt to conceal them. There is no thinly applied veneer of cynicism' not any- thing of the baby-staring of the ingenue. Center, Miss Talmadge and W y n d h a m Standing at Miami, Fla. Photograph by Puffer, N. V. (Tuenlii two) Interview SERVICE then myself, furtively and occasionally, in the vain hope of turning the talk into publishable channels. Eventually, be it said, she, too, succumbed and we smoked and gossiped and laughed a perfectly good interview away. Also, this is probably more important to me than to anybody, else, we spent. Norma and I, several more of the precious inter- rogative moments in comparing palms, both hers and mine being equally wrinkled, lined and then crosslined. "My child," said Norma, with sagacity, "you're going to have a fear- ful life, all .sorts of weird and interesting things. That is what everybody tells me." We were holding this frivolous session, be it said, in Norma's (I am a realist, so it has to be Norma . . . that is, she is going to censor this interview, so it may NOT be Norma, in whicji event you will know that she has blue-pencilled it, which I lay an Norma Talmidee ii a "regu- lar person." She ii essen- tially human. She is nothing of the snob, nothing of the highbrow. She detests the easily and prudishly shocked. She is free - and easy and talk to-able and at-able even wager with you she will not) as I was saying when I interrupted myself, the wholly desirable "hen party" was held in Norma's private apartment built for her and by her in the Talmadge studio. I believe it is the only thing of its kind in studioivity. I may be mistaken, in which event there will be more blue-pen- cilling done. This relieves me of all strain. The apart- ment is delicious, compact and complete, aside from being an innovation. You step from the hammering and shifting and shouting and general activity of the studio into quite another world, quiet, tasteful, apart. There is a tiny entrance hall. There is a large sort of a main room, part living room, part dressing room, which is, of course, its .chief use. The walls are a soft cream effect and the high windows are hung in some sort of effective cretonne. There is a mammoth black wicker dressing table topped by an oval mirror framed in black wicker. There is a comfy black wicker chaise-longue, occupied that afternoon by a diminutive and much- beloved "Pom." There are one or two made-to-be-sat- in black wicker chairs. A broad window-seat, uphol- stered, runs beneath the cretonned windows. There are two capacious clothes closets containing sundry cos- tumes. Aside from all this, there is a complete little (Continued on page 87) \ An Old-Fashioned Girl of nventj-fiv-e doUars a month denved frotn some prop«rt>- ot her ovrn. The br^e V^g mother did the thmg she S best how to do She raised blooded stock and pedigreed hunting dogs. Her f^°^ts caK live with her and a new ■'''%UrMacIvor was a deUcate child. ^bVw'as unable to attend school regu- •";-;v and was taught by her mother at •:-V~;e Her maternal grandparents were Scholarly people, and Mao'^s first recol- ■e-°ons are ot the poems her grand- t::lr ,..ed ro recite. His collection of -:,s ;.s her playground^^ She^began early and whiled away the hours curled up in an armchair, either read- ing to herself or listening to her grand- father. Mary's first L«ft. William .Des- mond, hnrtrnd ot the "old-fashioned gin and, below, the^ De*- mosds at breaiiast m their HoUywood bun- gilow. Miss Maelvor is ii:8t past e:«ateen and' looks Uie a mere schoolgir'.. raOier thyi a leadLng lady and wiie o! a star naiorn^ b«:cw by S-.ifJ W« WiHr Wintao ri»s thra *25^ L,>tair» mi" Aoaaatam in ba B«btSoaa; Peerin' m th' window. Cryw- at th' loA— 'Are th" haims a' in bed? Noo, ifs ten o'clodc." THAT was one of linle Mary Mac- Ivor's favorite nursen.- rhj-mes^ Her ancestors on both sides of the family were Scotch, and tradition has it that ti>e wotnen of her clan are small, the men tall and handsome — true 'defenders of their kith and kin. Mary never saw her father, but she \tms to hear how splendid and how good he wa* and to look at his pictures. VMien her brother had passed his ninth birthday, the young fyttyr dMd of doable pnetunonia. and the shock of hw death caused the premature birth of the child, .^fter his death there were money worries. and when all the debts had been paid, the great farm sold and the little family forced to leave the beautiful old house for a smaller place m the mountains of Virginia, Mary's mother had nothing to Stan on but an income rrK«i««*7o»rJ By FRITZl REMONT great grief came with the death of the only real "cjaddy" she had ever known. As she grew up and became stronger, Mar>- was taught to ride the fine horses her mother bred. She was afraid to take the high jump, but she would ner\e herself for it whispering her mother's instructions, "Give him his head when he goes down, pull him up as he lands." Mary Maclvor is an old-fashioned girl, rich in the tradi- tions of the South. She knows how to do fine hand-sewing and can dam a hole in such a way that it improves a frock. On certain days o'f the week, her mother used to have Mary prepare the luncheon and taught her how it should be served. At such times Mary put on a tiny cap and apron and waited on the table with great formality. It was a game, but it pre- pared the girl for the home she manages so gracefully now. "We had the prettiest wedding ! An old friend of ours, in Pasadena, has a rare collection of Chinese works of art. She insisted that we should be married at her home, and we were. We were married in a Chinese room, with a low seat, covered with hand- somely embroid- ered draperies serving as a prayer-bench with canopies overhead of the same rich materials. At our engagement din- ner, given by Mr. Desmond, every one had place cards of Kewpies sa\e Little Mar>-. Mr. Desmond turned to the guests and announced the fact that 'Mary gets an Irishman!'" She CUmpiet of the Desnionds at home and motormg. Mn. opened a Chi- cal Dixie gizl »nd "«*« °°^ *°" related to the Bu- took out a chanan» and other funny little Southern lamiUe. -^^^^ ^f ^ . Irishman. That Chinese box is a veritable treasure house. It contains miniature Buddha^, temples, sombreros, furni- ture, dishes, holy-water fonts, dice that are almost too small to be seen with the naked eye and hand-carved ivories. Nothing is more than an inch long and most of the treasures are a good deal smaller. They have been sent to Mary from her admirers all over the world who know her fad. Mary's biggest hobby is — bottles ! WTien she told me about that. I said, "Beer bottles?" Laughingly she an- swered, "They're almost rare enough now to be saved as souvenirs of the' twentieth century, aren't they? But no, my bottles are of all sizes, shapes and nationalities." .She owns a whiskey flask used by high-bred women of the Gvil \\'ar period, camouflaged in a peculiar manner. It's of china^ colored and built like a small prayer book, with a hole at the top for a tiny cork. .\ "lady" of that period could carry this spiritual volume in her muff without exciting suspicion. It was the fashion to faint in 1865 and old Bourbon was much in demand. Miss Maclvor is related to the Buchanans and many other famous Southern families. (Continued on fage 90) (TKenty-five) PbotOfftph (loi)) by Whit*. Both photogriphi below by Abbe. (Xmenty-iiJiJ The Holidays In the Theaters Below, a lively moment in "Ni(fhty Night," the rollicking farce at the Princess Theater. Left to right, Francis Byrne, Su2anne W i 1 1 a and Dorothy Mortimer (Twenty-seven) Photograph by While On Vamps and Ingenues By Ethel Rosemon " T^ROM the inginue with the P golden curls, the floppy hols, the short -laaisted frocks and — and everything; from the vamp with the heavy eyes, the carmined lips, the snake glide, the Oriental jewelry and— and nothing, ye gods of the screen, deliver us." Dorothy Green sat on the edge of the bed, swung one shppered foot in midair, ran the comb thru her bobbed curls and dis- cussed the vamp "on and ott. There was nothing of the picture star about her, everything of the typical young American, mental- ly keen, phvsically fit to cope with life The white shoulders that fairly gleamed thru the sheer negligee, the rounded arms, the jfi.'.y'j.troy^.iafewsatac- Pholo»T»ph © by Lumlere clear gray-green eyes, the peculiar luster of the dark hair bespoke joyous, vibrant health. Keeping the ma- chinery of mind and body in perfect order is her main object in life, for with it, she declares, you can ac- complish everything, with- out it, nothing. Dorothy started life— her moving picture life — as a vamp, but she was never tne type of vamp from which she prays to be delivered. In her opinion there is no state of society in which he shadow conception can hope to fulfill her^destined end. (^Continued on page /o) "Deliver me from the ingfcnue with golden curls and the vamp with heavy eyes," says Dor- othy Green. Miss Green is a healthy type of young woman. She ra- diates joyous, vibrant health If I Were King Fictionized from the William Farnum Photoplay By OLIVE CAREW '• A ND you should have the sun and moon to wear — ZA if I were king — " ^ The pen was rusty, the ink vile, the man who bent over the rude deal table a scarecrow figure in a velvet doublet so bepatched it was hard to say what its original color had been. His hair, dark, long and un- kempt, fell about unshaven cheeks on which a week's beard blurred the lines of expression, a battered cap, adorned with a draggled cock's feather lay on the bench beside. "If I were king — ah, love, if I were king — " he read aloud and his voice shook oddly in the reading, and the wild, bright eyes, deep-sunken and surrounded with the fine lines that told a sorry tale in Life's handwrit- ing were actually filmed with strange drops. For the nonce, Master Francois Villon, of unsavory name, pick- pocket, rhymster, marauder, sometime jail-bird, emp- ty of stomach, emptier of purse, was transported to that seventh Heaven of the poet — Inspiration. The Fircone Tavern on the afternoon of a warm June day in the middle Fourteen Hundreds was hardly such a place as would beget thoughts of love and royalty. Rather would one expect its smoke-stained walls, its atmosphere of stale wine and mouldy cheese and un- washed humanity to spawn a litter of evil deeds, of foul oaths and deformed fancies, but the crew gathered be- fore the wide hearth, tatterdemalions, rogues, girls of the oldest profession in the world, merry vagabonds, all seemed happy and at home as they clattered mugs and cans of ale to the accompaniment of brisk tongue wagging. "Come, Francois ! Art dry as that vile stuf! Master Robin here serves us for bread," slim Rene de Montigny called to the silent figure in the For the nonce, Maiter Francois VUlon, of un>- • •vory name, wis transplanted to that seventh heaven of the poet^Inspiration \ >** ^ A, ^k<'jmtw corner, "canst moisten your gullet with ink, lad ? Be not so chary of your sweet company !" "Leave him be," said one of the girls, a slip of a lass in boy's habit, who looked despite it no more a boy than stout Colin Cayeux, sprawling on the floor at her feet looked a woman ; "he wants none of our company, being in love with his own. Look !" she wagged a derisive hand. "Canst not see he has a goodly crowd about him? There is Sir Villon, poet of Paris, and one Francois, gentleman ad- venturer come upon evil days ; then there is Francois Villon. King of the Cockle- shells and Rogue V^illon, known indiffer- ent well to the keepers of His Majesty's gaol, and there is Villon the sot. N'illon the huckster of rhymes, Villmi who has betimes an itch of the dagger and Villon — " (Twenty-nine) MOTION PICTURE "The lover!" tittered a full-bosomed wench who seemed bursting with ripeness tliru the straining sheath of her bodice; "forget not his best role. Abbess! Js no other i' all of France can match him at sweethearting!" Tigerishly the girl sitting on the table's edge, swmging one shapely green clad leg, twisted her lithe body upon the speaker. "Have you been making eyes at my man, minx? I'll teach you to meddle — " "Come, come," interposed the swinish landlord, thrusting his fat body between, "no hair-pulling! Settle your differences outside, and," significantly looking about the circle of emptied mugs, "settle your scores here ! No excuses, mind, in the stead of coins or you'll find a leak i' the bottom of your glasses hereafter!" The crew of ragamuflfins looked askance at one another, and Jehan. the Wolf, slapped a lean pocket forlornly. "Have none" of you the wherewithal to appease this grasping ale- draper?" he whined; "if we would keep up the dear habit of eating and the dearer habit of drinking we must find some good burgher whose purse suffers from a plethora and needs bleeding." Rene de Montigny thrust his hatchet face' mysteriously for- ward. "Know you any of you, Thibault D'Aussigney, the Grand Constable?" he hissed. "Ods blood, if 'tis not he who has just entered — the fellow in the black cloak yonder in the corner, I'll dine on my doublet! There's no hiding that beak — but what can the Constable of France be looking for in the Fircone Tavern?" "Shall we stick him?" queried an ill-favored Cockleshell, jerking a dirty thumb, "my dagger has no objections to spilling blue blood as well as red." "Let's ask Francoi-s," Rene suggested, and approached the figure sprawled over his writing, shaking him boisterously. "Come! Enough of rhyming — can you fill your belly with rhymes ? We are hungry, and an ill world demands vile silver in return for food. Poems are good but fat capon, cheese, meat pies, pink ham and brown ale are better !" and the rogue's eyes glistened and he licked his lips. The figure' at the table unhooked itself and rose with a ges- ture of brushing away cobwebs. Francois 'Villon looked dazed- ly about him, at the sanded floor, the guttering candles and the motley assemblage turned toward him, looking in the flaring and uneasy light like so many hobgoblins, and the light went out of his face as tho extinguished by a cold gust of mem- ory. Then, drawing back his lips, he began to laugh with no mirth in the sound. "Welladay, lads and lassies, so ye are hun- gry !" He struck a fantastic pose, tattered cloak fiung back, palms on hips showing the dagger and the vellum book that kept strange company in his leather belt, "that is a fash- ion all Paris will soon follow unless our straw King finds himself the guts of a man ere long !" He would have thrust the paper he held into his doublet but the Abbess, leaping for- ward like a tigress, snatched it away. "Let's see to what mistress he writes now !" she snarled, "of love that ever finds your face more fair" — bah ! should I be jealous of a paper wooing — I know better ways of love than that — eh Francois? Eh, my little mon- key?" Francois 'Villon unwound the arms she flung about his neck and put her aside gent- ly, with a curious look of pity. "If I can- not fill your stomachs I can fill your ears with a well-seasoned tale," he promised, as he took his place, back to the fire, the leap- ing flames making him a still wilder and more grotesque figure, a knight of the gut- ter, a gallant of the gibbet. "Hark then to the story of how one Master Villon met with the One Woman in the World." The Abbess gave a sound of rage, but Villon shook his head. " 'Tis the tale of the moth that scorched his wings at a star, Hugette !" he comforted her. " 'Tis not love as you understaiid it but rather something else that only the good God understands, the mystery of the ages, the riddle of the Sphinx. Know, then, that on Wednesday last as I was strolling — for my health alone! — near the Church of Notre Dame, watching the good folk enter, suddenly, I felt myself caught up to Heaven, and I saw — the love- liest she alive beneath the sun. She saw me no more than the pave aneath her little foot, but I saw her, and I see her now, and I shall see her in all the dreams I dream till it comes my time to die ! It was not that "I was atandinK near the church of Notre Dame when auddenly I felt myself caught up to heaven and I saw — the loveliest she alive beneath the sun." (Thirty) CLASSIC her hair was so much brighter than the sun, or that her eyes were bluer than the blue overhead, or that her little mouth was red- der_ than the roses in the King's garden ; it was something else — a soul that peeped from her eyes, a God-knows-what that made her the queen among women. The sight of her beauty hurt my eyes, the taste of her beauty burnt my lips, and the ache of her beauty troubled my heart, and she passed me by, unseeing and entered the church, and I stumbled away drunk with a headier wine than you have in your rotting bins. Master Robin. And," he groaned, and mocked the groan with a jangle of laughter, "I think I shall be drunken with her all njy days." "Why didn't you follow her into church and get near her in the crowd and pinch her?" queried Colin, sleepily; "I like not your tale, Francois. It has an ill sound in ears that ring with hunger. Love! Balder- dash ! Oh, for a roll of sausage — " and he looked greedily toward the cloaked figure drinking a sedate noggin in the corner. At that moment, as tho summoned, the figure rose and moved toward them. "Is there among you a braggadocio ruffian, a loose-tongued fellow known as Francois Vil- lon ?" asked a voice from under the conceal- ing hat brim, "if so I have a word for him." "At your service, good Cuffin!" bowed Villon, airily. "Your description fits me an ill cloak, and I like not the cut of it, but never mind. Has your word the ring of metal ?" The stranger glanced about ths circle o wolfish faces, and apparently decided they were birds of a feather. "It has," he an- swered surlily, "the sound of a thousand francs to one who can do a simple errand." "For a thousand francs," smirked Villon, "I would carry a message to the devil him- self. Out with it, friend! What's to do?" "Only this," said the newcomer, lowering his voice, "as you know, the Duke of Bur- gundy besieges Paris and King Louis Do- Nothing sits idly by, willing his people should starve. But some there are of us this likes not, and we want a trusty messenger to carry word," he regarded Villon watch- fully, to Burgundy that the defence of the city is a pitiful myth, that there is no wall but may be carried, that the army dices, and the Court dances and there is nothing in the way of his enter- ing whenever he wills !" "Ouch !" Villon gave a sudden cry as if of pain and clapped his hand to his side; "I have a cramp — in my sword I It needs exercise!" He drew it, and flourished it fantastically above his ragged head. "It is a French blade, fellow, and thirsty to "drink the blood of a traitor!" Like a frightened hen, the man in the cloak scuttled across the room, and the door- erased him. A murmur of discontent rose among the fellows of the Cockleshell. "You fling away a thousand francs glibly, Francois," grumbled Rene, "who'd have suspected you of such a tender conscience? And what differ- ence does it make to you who sits on the throne of France?" Villon sheathed his sword. " 'Tis a whim of mine," he con- fessed, half ashamedly, "to be loyal. There's no accounting for whims, but I'll not let mine rob you of your supper. Come! The good moon has drawn a curtain across her window like a tidy housewife and the world's adark. I know a church chest waits us, bursting with spoils pilfered from the pockets of the •poor. Let's be gone, what say you. Hearts of Gold?" It was a windy night, the gusts rushing down the little crooked lanes, setting i le shop signs creaking, and the lanterns (Thirtyone) IHitt" wiTcd VUlon, "one Cornell" flaring overhead. The Fellows of the Cockleshells slunk along the streets like shadows cast by the moon, and without accident elud- ing the watch, arrived at length at the church. "Ods blood I" then swore Rene de Montigny, softly,* "but the fellow's brought us to the chapel of His Ma- jesty!" "Who better?" whispered Villon, gaily ; "one goes for riches where riches are. Does o.ne seek poultry in a draper's? To work !" A hasp on a window at the side was loose and Colin, who despite his flabbiness, could twist a bar of iron as it had been cheese, snapped it in two. Pell-mell into the dark interior hurtled the pilferers with as much ^clat as tho thievery were not a hanging matter, and Villon followed them. The chest was soon located, its contents distributed among the sev- eral jerkins which closed over the yellow meul cosily. Then, as they were about to leave, Villon held up a warnmg hand. "Hist!" he muttered, "one comes!" A gleam of a torch pricked the darkness of the chancel. The intruders shrank into the shadows as a woman's figure rayed MOTION PICTURE Louis turned to. Villon, "After such a conqueit m e t h i n k I Burgundy should be easy for you, my Lord Constable, *" sneered he about witli a nimbus of liglit paused at the altar and motioned the attendant with the torch iiway. "Wait me outside," said a voice. Iil<e the deep tones of a bell, and hearing it, Villon gave a great start, and forgetful of caution leaned to look down at her. "God in Heaven!" he muttered, " 'tis she!" There in the darkness the five rogues listened to a woman's prayer, a prayer for the safety of France whicli was dearer to her than her heart's blood, a prayer that a weak King might be given strength — or "that a man should come to court" and rouse the painted pujijicts to be men. Only one of the eavesdroppers gave the words inuch liecd. chafing to b<v gone and taste the sweet fruits of their thievery. When at last the white figure had trailed down the iiisle. Rene de Montigny prodded Villon's side. "Come, let's be off I'' he nuitlcrcd. "before anotlicr wench comes a-prayingi" A ray of the moon, pryin'.,' t''iu a shutter, fell across Villon's face, showing it aflame! Ills fellows stared curiously, as tho they hardly knew him, but Villon gave them no heed. "A man woulrl come to court!" echoed N'illon. with a great loni;ing shaking liis voice into ra^'s and tatlers of soimd. "Now if there be a God. how Me must be I;iu<;liingl .\ nincompoop upon the throne, nnd a .ijiitter rat with the s])irit of a king! If I were the king of France—" His head rocked liack on his shoulders, he spi^kc as one inspired in his beloved rhyme — "We want a chief to bear the l)rand — And bid ilie damned Biirguiidians dance — God I Where the oriflamme should stand If Villon were the King of France — " In flaming measures he poured his heart into the words. the wild, untamed. Hcnrt of \illon the rascal, beating beneath the rags of shame ami terrified by the sound of approaching feet his friends fled from liini, Oiving from the windows with their spoils, bent on iaving their skin whole. In the vestibule. a small crooked frgurc in a velvet doublet, with silken hose sheathing his lean shanks liste-icd. and smiled with wry. thin lips. "A braggart, mouthing easy nothings!" Louis of France murmured to his entourage, "still — the fellow has fire in him. Get him, and bring hiin to me!" Dazed, Villon saw himself suddenly surrounded with pikes and the flash of steel, he whipped out his poor blade but too late. Louis looked down at the wretched huddle of limbs they brought him, and laughed softly. "An ill-looking bird, but he croaks like an eagle. Thibault has gone over to Burgundy and the post of the Grand Constable is empty — take him in, 'wash and dress him in fme linen and lay him on Thibault's bed. When he comes to himself address him as Grand Constable! We shall see whether he has aught can match his bravery of tongue I" And so it happed that on the morrow, Francois Villon opened his eyes upon purple draperies and tapestried walls, upon servile faces bowing about his bed. upon gold lace and velvet and plumed hat laid by ready for his donning. " 'Tis a monstrous fine dream, at any rate," he murmured, as he was helped to dress, "if I might dream a few gold pieces in my pocket now — " He thrust his fingers into the wallet at his belt arid drew them out full of coins. He raised his eyes and beheld in the mirror before him not the scarecrow figure of yesterday, but a gallant gentleman, barbered, freshly shaven, carrying his fine plumage easily and well. "His Gracious Majesty the King to speak with the Grand Constable on affairs of state," intoned a voice at the door. The small, crooked figure in black velvet waved his attendants away. He regarded the transformed thief, and sniggered. "Welladay. my good Constable!" shrilled Louis, "I trust you have found all to your taste? We are but humble folk at \aucelles: you must overlook our failings." Villon fell upon shakine knees and touched his lips to the hem of the black robe. "Sire !" he choked, "Sire. I know not what to say !" .^ "Yet last night you were at no loss," chirped the king; "you Ind a mouthful of fine words and boasts as to what you would (Thirty-two) ClAbSlC do if you were France's king!" His tone grew sharp, his smile more malign; "I have decided to give you an opportunity to make good your words — if you can. For one week you shall be the Grand Constable of France in very sooth. You shall do as you will and drive Burgundy from our gates if you can. Af- terwards," the thin lips sneered, the small cold eyes twinkled up at him, "afterwards your final act as Grand Constable will be to pronounce sentence of death upon one Master Francois Vil- lon, scapegrace and ne'er-do- well, provided that in that week you have not made good your words and won the heart of the Lady Katherine of Vaucelles, proudest lady of the court, and hardest to win !" The wry smile became a cackling laugh. "Egad, it would serve Katherine well to have flouted me and to pin her faith to this thing of ra^s anil tatters I'' chuckled Louis. Villon was very white, but his eyes glowed. "Is that the only choice. Sire?" "Louis made a contemptuous gesture. "Oh, no, you may don your vile rags and go back to your gutter this moment if you choose a longer lifetime of lying in the mud rather than a week of sitting among the stars." Villon bent his head. The sunshine was pure gold across the floor at his feet, the air was soft with roses. Life was very sweet even to a poor rogue of a rhymster — yet, to play a man's part for a week — to be near his Lady, to speak with her as an equal, to woo her perhaps — He bowed low. "I have chos- en the week, Sire," he said quietly, "if I cannot make good use of it I would rather die than live longer to hate myself." Of the strange, wondrous days that followed, there is no space to tell. Francois Villon, Francois Villon caught the slim white hands with a great cry. "You would do that for me?" he asked 'gutter-born, found himself at no loss among the great lords and ladies of the court. F,ven when Katherine of Vau- celles bent her shining head to him and spoke in the tone she used toward the king himself, his lips fell into the courtly phrases of compliment anil badinage, tho his heart beat to sufTocation with great joy and great pain. And the hours sped across tlic sundial in the castle gar- den, and still Burgundy crouched with- out tile gates. Then came a herald, bearing insolent word<. "Surrender Pnris or taste of our guns!" Louis tlie King listened, small, weazened face inscrutable, while the court chafed under tlie insult of tlie message and the messenger's bearing. "My Grand Constable will give you our answer," said the King, calmly. "He krtovvs our heart, ant! our will." Francois N'ilion rose to his feet, in his soul a great humbleness, in his eyes a flame. He had dreamed always of great deeds that he would do. and now great deeds were possilile to him. He .spoke with his lips to the herald, with his heart to Katlierine. "Go back to your master!" he bade the messenger, "and take him this word from the lips of France Her- self. Defiance for defiance, menace for menace, blow for blow I This is our an- swer"— and he drew his sword and flashed it aloft, "God and Saint Denis for the King of France !" Up sprang the perfuined courtiers, dragging their sleeping blades from silk- en sheaths, the air was full of their flash- ing and the sound of cheers. His words had burned away the painted threads of lassitude that had enmeshed iheir nian- (Continued on page 68) (Thirty three) i ««fT is like a miracle! I can hardly yet believe it. I After so many struggles with heavy odds against me, to have at last become a director — well, as I say, it is like a miracle !" And while Erich von Stro- heim smiled, the eyes remained serious. The memory of those struggles is not readily effaced. There is a saying about the motion picture studios that in every life there is at least one good scenario. If this be true, Mr. von Stroheim has a dozen stowed away behind those serious eyes, for during his 32 years he has touched the dramatic contrasts of life that develops the emotional powers and he has — lived! Before meeting him I had been told that he was by birth Count von Strolieim. of the Austrian nobility, his father having been a colonel in the Austrian army, and he himself a graduate from the War College of that country in 1905. When I asked Mr, von Stroheim about these early years he shook his head, saying, "Titles mean noth- '"g" } gave up mine for I am an American citizen. "This .American citizen had a hard time during the war, however," he continued, as we lingered over our sandwiches in the little cafe at the Universal City studios. It was long p.-ist the usual lunch hour and the room was deserted. "My name, my face, in fact, my whole Austrian make up was against me. I was shunned and disliked. At one time I was even under observation, but about six weeks before the armistice was signed I was of- fered a commission in the Intelligence Department of the United States Government. I had served four years in the U. S. .\rmy when I first came over ten years ago." Erich Von Stroheim and the Miracle "Perhaps it was your splendid acting in the role of the hated German officer in various pic- tures that helped prejudice the public," I re-- marked. "I confess that your subtleties made me long to see your punishment several times." "What could I do?" he replied. "The moment a director saw me I was immediately cast in that role. I played it in 'The Unbeliever,' 'For France,' 'Hearts of the World,' "The Hun Within,' and in 'The Heart of Humanity.' Prob- ably I could never have given such a villainous characterization in the latter picture had I not been conscious of the hatred which every mem- ber of the cast felt for me. I sensed their an- tipathy so distinctly that it was reflected in my acting and I put into the role just what they were thinking of me. "It was after a disa- greeable affair t h a t m y father thought the Amer- ican climate w o u 1 d b e good for me and he sent me over for five years, I doubt if I shall ever go back. "During the y e a r s of Erich Von Stroheim went thru painful privation when he firBt came to America from Austria. In those days of frayed collars and run-down heels he en- gaged in every possible occupation, except bar- tender and waiter (Tliirtiifour) By Maude S. Cheatham run-down heels and frayed collar bands I en- gaged in every possible occupation, except bartender and waiter, to keep from starving. Oh, yes, I was often hungry. I recall that once in New York I didn't have one cent and was miles from my lodging in Brooklyn. I stood by a subway entrance determined to ask some- one for a nickel ; I had frequently helped others, but I didn't have the nerve and walked home after all. "Struggles are all right to look back upon. but so far I derive little pleasure in contem- plating mine, they are still too recent to have gained any glamour. I came from a fighting family, however, and I fought my way thru every inch." Whatever the bat- tles, Mr. von Stro- h e i m has finally emerged not only as an actor of subtle force, displaying the rare ability to sink one's personal- ity into the role he is playing, but he Once on the coast. Von Stroheim found the screen no easy goal. He was a life saver on Lake Tahoe, with the unlucky number of 313, before he succeeded in breaking into pictures Y has achieved a signal success as a director, for his first picture, "Blind Husl)ands." places this young man among the foremost directors of the day. This may well be termed a personal triumph for not only did he direct the production but he wrote the story, under title of "The Pinnacle." and acted one of the i)rominent roles. "It was Mr. I.acmmle who gave me my chance," Mr. von Stroheim replied, when 1 congratulated him. "He came west just as we were finishing 'The Heart of Hu- manity.' Meeting him, I told him what I wanted to do and he said to go ahead. 1 still feel it is a miracle, four months ago I little dreamed my chance was so near." It was after a series of hard.ships during which he had tried everything, from writing a vaudeville sketch and playing it on the Orpheum Circuit, to being Life Saver at Lake Tahoe I with the unlucky number of 313) that he broke into pictures. Being down and out but still determined, he walked over to the Griffith studio in Hollywood every day for two months and waited around the outside, hoping to at- tract .someone's attention. One day John Kmerson, who was playing a riMe in Ib- sen's "Ghosts." stepped out of the studio in his evening clothes with a ribbon across his breast. "For the first time in my life I was nervy," observed Mr. von .'^trohcim. "I stepped up. told him my name and asked if he was playing comedy or drama. \\'hen he said drama, and that the ribbon was a badge or decoration of a Chamberlain. I told him it was not correct. 'What do you know abniu it ?' he asked. I replied that it was too long a story to tell (Continued nn pof/c 69) (TMHy-fve') The Director- Diplomatic By WARY KEENE . the usual rest of il. I saw Edward Jose d'ff"f""/„f „^ _,is,ion had I been vith the intent iiin, a director. I can hardly say why. I found him as diplomatic as his appearance conjec- tured. Quite charmingly so. He has a fine discrimination in giving his point of view and in keeping it. He is a man pre-eminently fitted to direct because there is always a deep reserve fund within himself of power, of thought, of feeling. He is wholly void of per- sonal egotism. So much so that I found it very hard to keep him to the topic of the hour — himself. He talked readily and engrossingly on many things— on the absurd- •ity, for instance, of the indi- vidual pitting himself or her- self against tradition ; against world-old laws and orders. "It is inevitable destruction," he said. "Take marriage, for example. The scenario I am doing now deals with the revolt of a woman against st rerth"ruouUf"o^rse. What does. one case of unhappiness or two or three, or as many dozen, prove? What have you and I to do with what has been ordained from the begintiing? I had come however, to hear him talk about htrruself, and if it had no Jeen foMhe gentle interpolations of Mrs. Jose who sat sewing m "he adjoining room, I should certainly have gone away wUh the charm of his indubitable personality about me, but wholly, too, without ^°jSras"'aSiner 1 asked him what he considered the requisite of a truly great director. It is the prize question. He shrugged his shoulders, elevated his bro,ys, threw up his hand and took a few steps about the room in what I discovered to be a char- acteristic way. . , r ' . j St "H I -^ay." he said finally, "people will think I speak of. or A.w. from, or about myself. It will sound too . . . well, too egotistic. It is better that I do not say at all. ' {Continued on page 80) Edward Jo»6 with lu» wife and child and, 'be- low, on location wlw the Norma Talmadge company (ThiriU'*'} The Cinema Comes to Carleton ' W By HARRIETTE UNDERHILL ULIAM Carleton, Jr., laid the corn muffin which he was buttering down on his plate, looked at us seriously and said. "You are rieht— there is I" ' • 6 Now William, Jr., is a mild-mannered man and he is particularly fond oi corn muffins, so we knew something untoward was egging him on to this display of fierceness and this renunciation of his beloved viands. "You are right, there is a fly in the ointment. I dont like cinema field days — community acting, if you know what I mean." "But we dont know," we murmured, outwardly timid, but secretly exult- ant, because we sensed a story. "What is community acting ? Something to inspire good fellowship, like community singing?" ' Yes," answered Mr. Carleton, still gloomily regarding his neglected muf- fin; "something like community singing, only not so sweet and I cant say that it is particularly conducive to good fellowship — in me, at any rate." "And what are cinema field days?" "The same, only more protracted." And all this because we had inadvertently asked Mr. Carleton if there was not a single fly in his syrup of contentment. "Never mind," w. soothed, "you needn't tell us what community acting is , and we can live if we dont know what cinema field days are. Dont excite yourself and we'll talk about birds and flowers." "No we wont ; we'll talk about cinema field days," for William Carleton, Jr., can be a "majerful" man when he wishes, ''if it wasn't for them, life in front of the camera would be one sweet song. But people never can be induced to believe that we make motion pictures because it is our profession. They firmly believe that we do it for their delecta- ~~ tion. Have you ever made exteriors in a popular sum- mer resort? No, of course you haven't — I forgot." "Well, you needn't be so superior," we replied. "We have had three oflers, but we dont like to work so hard." "Well, community acting is when the whole <;om- munity decides to take part in the picture. Cinema field days are those awful days when mothers gather on the site which has been selected for the exteriors for your new picture, bringing with them numerous little Cuth- berts and Cedrics who, they fondly hope, will be the picture heroes of the next generation. "You select a nice secluded spot back of a stone wall for your dressing room. You find a hollow tree evi- dently placed there by providence to be your make-up table. You work for an hour in the sun. Then the director will say, 'AH ready for this scene ! Carleton, your nose is shiny. Better touch up your make-up !' and you rush away to your nice secluded dressing room to find an angel-faced, flaxen-haired child dig- ging in your box of powder with a stick. His face is daubed with your grease paint. Mamma sits nearby reading. You take your cherished possessions away from him, get out your mirror preparatory to holding it up to nature and proceed to touch up your make-up. Cuthbert stands wild-eyed. 'Mamma,' he shouts, 'come and see the man putting powder on his nose just like you do !' or, if you carry your make-up with you and hide it under a stone, when you return you'll sure- ly find some coy belle of '84 in a picture hat using your powder puff and mirror. It never fails." "Poor dear," we murmured, "the subject is evidently a painful one. Tell us some more." "Well, there isn't going to be any community acting in 'The Copperhead.' That is the picture I am work- ing in now with Lionel Efarrymore. Charlie Maigne has made me a deputy shcrifT and I am going to wear a 'tin star' and everything just like a regular one. So when the people gather on the field for the ceremonies, as they surely will — 10,000 strong, I suppose, to see a real Barrymore, I can order them back and flash my badge and be real impressive," "Did Mr. Maigne select you as a minion of the law because you are six feet two?" we asked. "And im- portant-looking." (Continued on page 70) (TMrtyieven) A study of WillUm Carle- ton, Jr., and two viewi of him on the acreen with Elsie Ferguson. "I love cinema work," says Carle- ton, "if it wasn't for com- munity acting." The Gorgeous Gloria Ttiis unique b«thiii([-BUit is in- troduced in CecU B. De MUle » "Why Change Your Wite? While we rather doubt its sea- going qualities, we frankly ad- mit Its effectiveness. H it isn t aquatic, it Is optical (TMrtij-cighl) Fictionized from the Maurice Tourneur Photoplay By FAITH SERVICE Just now. rankling virulently, was the girl in the Zangiciamo orches- tra, lately arrived from Eastern ports and stopping a few weeks at the hotel en route for California IN his very early days Baron Heyst had been badly battered been vague persons . . . even his father with his detached and mauled by life . . . there had been a great many things bitterness, so detached, indeed, as not to be bitterness at all, but ... it had not seemed able to let him be. With the passing only a wraith of other days, still shrouded. There had been of his youth passed, too, his faith. He drew, as it were, an vague events . . . and many books . . . and travels . . . envelo])ing cape about him and stood aloof, mocking tliru seen, as it were, thru a haze, darkly . . . nothing had been badly twisted lips. real, ever. Nothing had given any stabbing joy. Nothing had '"Jhe thing to do,'' he told, his son, shortly before he came to given any drivep pain. There had been no palpable sense of die, "is to do nothing. Only by establishing an absolute nega- discomfort, nor yet the glow of any substantial comfort, tion of attitude are you safe. Do not attempt, either, to be After his father's death, Axe! Heyst left London. He had .anything. Be //; the world, because read of the South Seas and they to remove yourself from it involves called to him. There, he thought, an infringement of negation, of all on those deep lulling waters, among infringements die greatest . . . but VICTORY those drugging scents and thick be not of it. Stand apart. Live apart. Fictioniml by special permi..sion from the see- strong .sounds, one might, like Say little and condemn, mevitably, ,,^^;^ ^j Stephen Fox, based upon Joseph Con- maiiimoth lazy birds, wheel away all that you hear said. If you evolve ^.^^.^ ,,^^^, ^j „,^ ^^^^ ^^„,^ pubhshed by o"^ s time, su.spended between, philosophies, the rabble, swine all of Ooubledav, Page & Company. Produced by literally and figuratively, earth and them, will still go nosing for truf- Maurice Tourneur and released by Famous hea\-en. Hes. If you ponder the philosophies piavers-Lasky Corporation. The cast; One could readily establish nega- of others you will become evolved. ' t i, « i ''°" ^^' ''^^ natives. There could Establisli an absolute negation." '^'"^' f^^*^-'" J'"^'' "°" be no possible other stand. There To establish a negation was not Alma Scena Owen would be no intrusions.- Things peculiarly hard for Axel Heyst. Cu- Rlcardo I.on Clianey woukl not happen. There would be riously, he had never believed very Schomberg Wallace Reerv no women. Not that .Axel thought vitally in his own identity, in his Ben Deciy of women m the way of intruders. own essential existence. He had „ ' ^°'\ , ,„r, wi.,«„„ Actually he did not think of them been, to himself, a shade 'walking ^^''- Schomberg • Laura Winston ^ 3,, He knew that part of his among shades ... he had estab- fedro Bull Monuma father's philosophy had had to do lished no contacts . . . there had Captain Davison Georce NichoU* with woman's component part in the (Thirty-nine) MOllON PICTURK She made a difference m the bungalow on the island. Heyst admitted that almost at once cosmos. And then, with the hejiinning of the bitterness. woman's part had been ruled out of the i>liiloso|ihy and P.aron_ Hevst had ex|iatriatecl himself • fro'm his native Sweden and M.me sort of a cliapter had been shuf down, a seal affixed. Nsel Hevst roamed five years amonf,' the islands ot the South Seas,' druKCinjr himself with a sweet narcotism, not so mnch wakinu' as sleei-ini,'. There had been no mtn.sions . There had been passing dusky faces . barbanc sot nds aiKl smells . . . lagoons like fluid souls . . . endless bine waters endless gold shores . . . endless sailings . . . coming and goings . . . nowhere . . . to no purpose . . ^ the world did- not knock at his door ... He might have been his father, entombed, for all life had of him. or he of he . . Then as abruptly as poetrv might turn to prose and almost as shockinglv, he fell in u ith .Morrison. Morrison was mere man. He didn't know anvihing about negations You couUhi t have established the abstract fact of negation in his head by any sort of means. He was utterly the positivist. He had a iias- sion too. .\ ruling one. .\ii overruling one It was tor lis trading brig, the "Capricorn." Morrison had been born on the Capricorn. He had grown up on her. with her, body and soul lie had got his life and his livelihood from her. She was living tisMie to him. He had a tremendous sentiment for her a f.^eling composed of tissue and blood He had sailed the lava sen on her and now, it seemed, in the port of Timor, be- cause he had no cash, some irregular had been found in his oaper. and the I'ortugueM- otficials were going to impose a hue he couldn't pav on him. arrest his brig and, at the expiration of the week, knowing the fine was beyon<l him, sell her at auction. Sell the Capricorn ... It was like the sacrilegious sale, the sacril ;8i VIS public sale of some beloved woman • ■ ■ MorriBon was in the throes when he ran into Heyst. fie was loo le'-rijly in the throes to take notice of anytlnng different about ?Icyst. He was just someone to pour out his heart to . his 'big heart, which was breaking. It was a sort of a vandalism, after a fashion. Morrison was a sort of a, no. distinctly, a vandal of dreams. He thrust his lieavy. hob-nailed boot into the delicate aloofness of Heyst's absolntci negation. He showed him a bare heart, a rugged ])iece of suffering, easily averted. Heyst was shocked. Of course, he felt at once, the Capri- corn could not be sold at auction. He sensed tbe tragedy there, immediately. Sensed, too, somehow, remotely, the clamor of resistance Morrison was making. Consummately and very delicately, he made it possible for Morrison to pay his fine and assure the safety of the Capricorn. He turned away before the sight of the big man's heaving ]oy. It was somehow cataclysmic. The primitive forces in the man slei)t, or dozed, so close to the surface that one felt the sense of ari upheaval of nature in his emotions, forces • • • "I'll tell you what," said Morrison, after he had released Heyst's sensitive fingers from his blunted ones; "I cant do enough for you. I cant, for a fact. I ... but what I can do . I'll let you in . . . there's coal on the island of Samburan. i happen to know ... come closer . . . hearkye . . -that's how I know. I've been waiting ... for the right man. You re him, Mr. Heyst. You're him. You are, for a fact. There s a fortune. A fortune. There is, for a fact. Here's the de- tails. ..." , , u Three hours later, Heyst said all right. He didn t know why he had said all right ; why he had agreed. It wasn't in accord- ance—it wasn't in accordance at all with the utter detachedness preached him by his father. He couldn't see why this huge crude man should break thru the delicate, impalpable, yet very potent doorway between himself and the rest of the world. His had been a huge fist knocking . . . knocking smashing sorts of blows ... he had, it seemed, battened things down. Heyst was conscious of a tingling in his veins. After all, per- haps, outside the thick blue haze shot thru with dreamy (Forty) CLASSIC gold in which he had lived and had his separate heinfj after all there were men who weiif immense tears over the threatened loss of a grubby trading schooner; to whom these staple things of hfc meant breathing and being. Odd sort of a surmise but probably true after a limited fashion And then, it had occurred, even to Heyst,' that to dream one must have money. Dreams, even, are quite costly One must pay, it .seemed, to float about on the South Seas watch- mg the curious native life thru half-closed eyes. This coal mine of Morrison's . .it could be got thru with and then he. Heyst, amply supplied for endless dreaming could go back ... M But one doesn't go back, it seems . Morris^on went to London to float the company and in Lon- don he died. There was too much fog there perhaps— the details were never made very explicit. But he died And \vhen Heyst heard of the big man's death he felt precisely as tho someone had given him a crude rent with a knife A most unthinkable thing. Before he died, however, it seemed that Morrison had. been successful in forming the company. Heyst found himself nominated manager and with the mushroom growth of such enterprises coolies were imported, engineers arrived from Lon- don, bungalows sprang up, a gallery was driven into the pro- ductive hill.side and coal in vast ([uantities was taken out Heyst had felt quite excited up to the actual time of the min- ing. There was something, he thought, in the nature of a gigantic dream about it all. He felt detached from it, in- terested, immensely interested, but as a spectator. He missed Morrison. Morrison had a fresh salt tang. There had been an invigoration to Morrison powerful enough to pierce the veil of Heyst's dreaming. Now Morrison was gone and the old lethargy was creeping about him again. His father had been right . . . detachedness ... all this . . . what did it amount to? Shortly thereafter the company went into liquidation and Heyst was left alone on Samburan with his chinaman Wang 1 le was content to slay. He had his pipe and the biiii-.-ilow had been fixed to suit him. He rather thought he woufd stay on indefinitely ... he was at peace. On the other islands, When he had gone to and from while the mining was on active process, there had been nast'y talk back and forth. Schom- berg the big Cerman who kept the hotel on Sourabaya seemed absolutely to hate him. This seemed absurd to Ilevst who had never hated as he had never loved, a living soul. ' Schom- berg, It seemed, accused him, with equal absurdity of an absurd thing. He had used Morrison, Schomberg alleged had even been responsible in some occult way for Morrison's death I here had been mysterious dealings . . . hidden wealth . Heyst laughed at it, silently, after his fashion, yet it was he thought as tho something gaseous, no.xious alloyed un-" pleasantly, a trade wind from the south, spiced and aromatic t ■ K !i'^''' certainly negative on Samburan. He was forgot- teri by the world. In his turn, he too, forgot When, finally, therq came an occasion for him to go to Soura- baya on some sort of a final transaction for the liquidated com- pany ho had forgotten along with other things, the dead Morris- son and his own brief days of activity, the hatred of Schomberg He remembered it when the bearded German glared at him and spat a reluctant consent to his registration at Schomberg^ of It, k' ^"g''^hman with the woman's eyes didn't know of Schomberg's hatred . . . Schomberg himself was rather indefinite as to the original source . . . he only knew that he had a deep antipathy for Heyst . . . that his fingers twitched £em4"htTnfiiJr."'°" ' ^'■'^'^^' '" '=°"'^'"P'^tion of cruelties Heyst's odd presence inflamed the hatred. Schomberg wanted to talk about it, wanted to plot and plan about it, wanted to allay, it. He had wandered on this desert of his de- And always Ricardo followed Alma, beg- ging her favors, making rove to her, threatenine her (Vorty-ont) MOTION PICTURE Alma in the power of Pedro testation long enough. He was parched. He couldn't talk to Mrs. Schom- berg. The woman had sympathies, despicable trait. Her sympathies, tho, were never for him, for Schomberg. For him she entertained some sort of a primitive passion which did nothing save preclude him from such other, infrequent and diverse pleasures as might chance his way. An occasional native, now . . . Mrs. Schomberg had no sympathies for him . . . Just now, rankling virulently, was the girl in the Zangiciamo Orchestra, lately arrived from Eastern ports and stopping a few weeks at the hotel en route for California. The girl was different from most people, from almost all the women who came to Sourabaya. She was white, that was one thing, dead white. She was whiter than the whitest flower ever stjincd with native blood. And her hair was like gold, like the sun that pours like heavy brass, all liquid, over Soura- baya. Her eyes, now, they were blue, sea-blue and sky-blue. She wore a blue uniform, too. Schomberg had a passion, probably Prussian, for uniforms. This one was a particularly taking blue uniform and it matched her eyes. It was adorned with copious brass buttons and considerable gold braid. It fitted her trimly and gave evidence, delicately, of soft, very young lines. She moved gently, too, and rarely spoke. It was horrible to have the automatic, seldom sympathetic Mrs. Schomberg perpetually between them. It was maddening, like a red banner waved eternally before an inflamed bull. There were so many ways of disposing of automatons on Sourabaya . . . When Heyst came he listened, tfie first night, to the Zangi- ciamo Orchestra. He didn't know why he went in, and once in, he knew still less why he stayed in. The discord, of course, was quite obvious, and outside the sea was murmuring, almost restfully . . . and there was a low sky, all weighted down with depending stars . . . there was a trade wind . . . thickly spiced . . . Heyst had felt a little dizzy . . . After the Zangiciamo Orchestra had done he knew why he stayed. He stayed because the very white girl in the impos- sible uniform stayed, solitarily, on the platform, immediately abandoned by the other members of the Lady Orchestra and by Zangiciamo himsetf. She seemed to Heyst to be shrinking, up there on the platform. She wasn't looking at him, either. On the contrary she seemed to be trying very hard not to look at anybody at all, as tho .she were fearful to. Of course, following the absolute negation, Heyst knew that he should go out at once,' lose himself in the night, let it con- sume him. But he had noticed her as the Lady Orchestra played, vaguely, but still . . . she had had a luminous quality . . . she had seemed to shine softly, faintly, like some fragment of a fallen, drifted moon ... It occurred to Heyst that she was the loneliest thing he had ever seen. He had always, here- tofore, thought that of himself, thought that indigenous to himself. It was a new thought, wholly new. Just as Morrison had been a new thought, Morrison who could weep and wring tremendous hands over the loss of a sailing brig, run with rats and smelling of rope and tar. Heyst approached the girl and from behind the bar Schom- berg glared and chewed his beard, his mustache, his chin itself. Schomberg had had three new guests the day before and until this instant he had felt .some sort of a clammy fear of them. One gets fears of that nature on the South Sea Islands. One of the guests had registered himself as Mr. Jones. That was simple and unfearful enough, certainly, but Mr. Jones belied his name. He had a horrible air of a recent gravel. Schomberg swore to his wife, pinching her the while he mouthed his fears, that there was the smell of grave-mould on this Jones. Ghouls had disinterred him, avowed Schomberg in part, and he had drifted here. The ghouls, he thought, were his two companions, Ricardo, an ex-seaman with a smell of fresh blood about him, and Pedro, their Venezuelan servant with fifty devils in his eyes and a smile cruel enough to congeal the blood Ricardo might well be expected to spill. Tonight, tho, Schomberg saw the three horrors he was fForty-two) housing in a different light. That they were bent on human death he was convinced. Plain Mr. Jones had been unearthed fron:i some unholy grave and now he. in his turn, was about to destroy and to raise up. Suppose that Schomberg told them about Heyst, over on Samburan. and about the death of Mor- rison and the hidden treasure. Suppose they left his hotel. these somehow terrible three, and went to seek out Heyst Schomberg crept up to the corridor where the three occupied three lordly rooms. He whisi>eied tn' them thru the evil hours until the dawn, sickly, turned to bannered splendor. Now and again he rubbed his hands violently together and mopped his brow. The pale proximity of the* plain' Mr. (ones beaded him with agues of cold sweat. The second night, too. Heyst waited for the white girl, who waited, too. On the second night she talked to him. Oddly. he had the dawning feeling that a human being was talking to another human being. Always, before this, he had thought a human being was talking to a shade, soon would sense this to be so, soon would chill and draw away. Toiiight, with this girl, it was different; how he could not say, did not want to say. She did not draw away, either. They walked on the curving half moon of the white beach along the edge of a lagoon within whose calm transparent breast a single star shivered, yet remained . . . She told him about herself. Her mother, who wore a great deal of jewelry and then was kind, or who wore none and was rather terribly cruel, who spent a great deal of time out, grew very tired of walking . . . pavements being hard ... Of her father whose name her mother was vague on and so, in conse- quence, was she. He had been a gentleman she said, her mother had told her she was certain of that, as certain as cer- tain . . . a gentleman, she could bank on that . . . that nebulous fact, it seemed, was alone substantial in an insubstantial world thru which this child had drifted, white like a fragment of a moon . . . Her mother had died, after coughing a great deal ... somehow she had got this job with Zangiciamo . . . and she was here and she was very much afraid . . . Zangiciamo and .Schomberg were like two maddened dogs, it seemed ; she the pitiful bleached small bone between the pair of them . She didn't know . , . On the third night he waited on the curve of the beach for her. When she came, she came flying. "Oh. Jake me away with vou !" she begged, her breast' torn like the wings of a bird, "take me away. Take me away! I'll work' for you. I'll live for you and die for vou. I wont ever bother you, anv. I wont ... I wont ..." ' It was like, even tho unlike. Morrison attain . . . some- thing battening . . . this time .something soft ... it occurred to Heyst freshly that he was a man . . . that the world about liim was made up of two component parts . . . man and woman . . . fundamentally, inescapably . . . and that he was, he. Axel Heyst, was the man and this white girl clinging to him, was the woman . . . He took her with him to Samburan, escaping that night, with the help of Mrs. Schomberg, only too glad to be rid of her, and Davidson who passed to and fro on his schooner and had done sundry small services for Heyst in the past. She made a difference in the bungakjw on the island. Heyst admitted that almost at once. It seemed to him, unobtru- sively, as tho the house were flower-filled, even while he knew that it was not. Everything seemed softer and, at the same time, sharper.. He, himself, seemed to be somehow quick- ened. Things were more acute, possessed more significance; daily things such as the eatingof meals, thedrinkingof tea before dusk, dinner by candle light. Heretofore they had been things to be got thru with, generally with a newspaper propped before his plate. Now . . . now he liked to linger over each detail of each one of them . . . there were her hands to watch, daily miracles, her eyes catching, holding, giving forth to him, again and again, new and amazing lights. Her talk ... all to him. Suppose she should ever talk in the same way to any other person, to any other man. He knew, with his new- Alma made the next sudden ly awakening self, that he move— a knife flashed thru wouldn't like that. And then, the air — Ricardo toppled over (Continued on page 81) (Forty-three) Helen Lee Worthing, one of tne honor leaders in our Fame and Fortune Contest, has an important role in Ned Weyburn's revue at the Capitol Theater. She may be observed at the left assisting the Capitol constructors (Forty-four) At The World's Foremost Screen Theater Broadway's newest home of the photoplay, the Capitol Theater, is now open. This de luxe film institution fea- tures an elaborate musical revue, in which Lauretta Harris, at the right, and Helen Herendeen, below, have leading roles (forty- five) / The Hidden Egyptian Exclusive Photographs by NELSON EVANS Clothes, and, if he happens to be in "the speakies/' it even influences his diction If the truth were recognized, it would be seen that men- tally, at least, he frequently goes on playing it forever.) -Think over all the players, both of the stage and screen, whose work you have followed and see if you can pick out the character or scene ihat they love the best. Frequently, you will find it very easy. You Lst use your detective powers, however. No true artist ever repeats a favorite scene or a favorite character in all o its details. But will creep out; as is the case with all true love they cannot help but sliow it Even the very versatile Edith Storey has a love of this kind liidden behind her many distinct and perfect characterizations. If you watch her closely, you niay see it there; a persistent suggestion of the Egyptian, in her clothes, her dry quiet humor her enigma .c ^^'e^ Her favorite part was in "Dust of Egypt," a comedy made by the Vitagraph Company about four years ago. "It was so entirely different from anything I have ever done that eve y moment of it was a pleasure," she sa id (she had on a dres of every muinc t- ,^^^,,^5^^ striped organdie at the time. Later when the photographer saw her, she had on a different dress but it was , striped, just the same). "In the beginning of the picture, I was an Egyptian princess. Nothing could stand in the way of my getting anything I wanted. I could take it or liave it brought to me. My will was hw absolute. And then this Princess died and her mummy came to life in the present century. (In the end it The most noticeable thing about Edith Storey is her sin- cerity. She has the most ex- quisite sense of humor and her viewpoint on life is a very lovely one, indeed. "I am a regular tomboy," she ex- plains. "My brother and 1 are the best pals in the world'' HAVE you ever stopped to think how many dif- ferent kinds of love affairs there a re ? But of course you have; everyone does at some time or oth- er I There is, fpr in- stance, puppy love that doesn't last, and Indian summer love, that doesn't last eith- er. There is the love of the leading man for the leading wo- man (on the screen) — ^and the love of the leading woman for the leading man (who is usually a member of some oth- er company) ofT of it and this last s — sometimes. But there is one love that lasts thru life and be- yond, and that is the love of a player for his, or her, favorite part. (It influences his mannerisms, h i s By Elizabeth Peltret turns out that she was the crea- ture of a dream). "Her su'-rounclit)gs were no longer regal, but the princess had not changed in the least. She wants to use a certain table as a couch. It is loaded with beautiful things, but she just brushes them off — (Miss Storey illustrated with & non- chalant gesture) — and orders a bear rug that she fancies brought to her. "The sub-titles were so good, too. "Without being in the least conscious that she is saying anything unusual, the Princess remarks to her host, speaking of his wife, 'The Woman is old and ugly ; why dont you send her away and get a younger one?' A man inter- feres with some little thing her Highness wants done and she deliberately attempts to stab him . . . But always she is possessed of a deep inward sense of her dignity as a prin- cess . . . ." Perhaps the most noticeable thing about Edith Storey is heri sincerity. She has a dry, quiet way of talking, her voice is low, rather "husky" perhaps, and even in tone, but never monotonous. She has brown hair, with the prettiest possible little wave in it, and large oval-shaped brown eyes. The first thing you notice about Edith Storey is her deep humani- ty. She has a gift of fitting in any scene or becoming one of any group of people in any walk of life. The scenes on these two pages show Miss Storey at her California home She has the most exqui.sitc sense of luiiiior and her viewpoint on life is a very lovely one indeed, "I'm not looking very far ahead, towards any wiilc or distant hori- zon." she said; "1 like to do the tliini; tlial is with me now. in the licst possible manner. I like to keep busy. 1 dont even like to sit still and read unless I am doing it for some definite purpose. I would much rather be outdoors. I l('\e nieehanics ; T can do almost any- thing about an automobile down to taking it apart and putting it to- gether again. 1 am a regular tom- boy ; my brother and I are the best pals in the world." He is three years younj;er than his famous sister and enlisted in the navy immeiliately after the declara- tion of war. Edith Storey enlisicd {Conthntcd on f^ni/c 7.^'> / Marie: The Mystic M' Three glimpses of Marie Walcamp at home and motoring. Miss Walcamp, be- fore she gained her success on the screen as a daring cinema serial belle, was a show girl in musical comedy By FRITZI REMONT ARiF. Walcami' will do any sort of stunt so long as she has faith in her director. And let me whisper: Marie is so sensitive to thought transference that nobody working near her dares think anything that Marie isn't supposed to know. Now isn't that sensitiveness queer in a girl who is a death-defying, gymnastic wonder? Miss Walcamp's eye.s. change color while you talk to her — from grey to hazel, from hazel to grey. Everything about Marie suggests mysticism. Her smile is inscru- table. No two people know her in the same way. In- wardly, she is perfectly sincere, but outwardly she is as changeable as a chameleon. She may be happy one moment and somberly reflective the next. She isn't just exactly beautiful, but her great individuality marks her as one having a beautiful soul. She is reserved and likes to spend odd rr.oments in reading and study. At night she usually reads herself into a sleepy mood, then tucks the book away under her pillow so that it can easily be drawn forth the first thii:<r in the morning. Miss Walcamp has a great deal of humor. You need watch her smile but a moment to be convinced of that. She has a large mouth, with perfect white teeth, slightly overlapping on the upper row, and that is why Marie wont smile often before the camera. Meeting her occasionally, one would not even notice the slight irregularity unless Miss Walcamp mentioned it, for her teeth give one only the impression of wonderful strength, resistance and per- fect health. However, serial pictures never require smiles, so perhaps that's why the girl changed from comedy to stunts, "Did you ever attend a seance?" I asked. I hadn't known about the Anna Eva Fay business up to that time, but Marie's mystic eyes — eyes which make one think of looking thru seven veils and trying to pierce an inner shrine — had given me courage to accuse her of being a psychic. "Yes. just once. It was in a town far away from here when I was about twelve years old. .Mother heard of a spiritualists' meeting and decided that it would be interesting for us to go and get a 'message.' if possible. I had always a.stonished her by my sud- den hunches, and .she was more or less interested in psychic phenomena anyway, so she mustered up courage enough to take me. It was her first expe- rience also. "We sat in a darkened room. I felt delicious thrills of expectancy and just a little shiver of fear. After a silence, the medium said — and oh, oh, he was so funny, with an im- pediment in his speech — well, he said, 'Thumbuddy kicked my calvthes awful hard just then. Does anybody here weck- onize that spthirit?' "I forgot all about thrills, fear, spirits and good behavior, because the idea of being kicked on the shins was so irresistibly funny. I laughed and laughed until I almost rolled off my chair, and then it struck mother, too, and she began to suppress giggles, and a man asked us to leave — and we did! So my first and last seance was a' real failure and. I never tried it again. I told mother I was sorry we hadn't behaved well, for I did want to see a spirit that had gumption enough to announce its presence in such a forcible way. I always did admire people who had the courage of their con- victions, no matter what form they took." (Forty-eight) Miss Walcamp's first Blm work was in a Lee and Moran com- edy at Universal. Her first real chance came in the serial, "Patria," with Irene Castle. After that she did "Liberty" for Universal "Do you have liunclies about getting hurt when you do stunts ?" "Oh, often. Last week, when Mr. Mac- Gowan was going to throw that block of wood at me, of course, aiming to avoid actually hitting me, I said, 'You are going to bit my head with it.' He said he would aim low and never get near my head. A few minutes later I was almost knocked out by the block ! I guess that ought to be the other way around, tho." Again the alluring smile brightened Marie Walcamp's hazel-grey eyes. "Did you ever play anything along occult lines?" "Well, you know my coming into the picture? M'as rather strange. I'll tell you just how I happened to be cast for Bob Leonard's 'The Evil Power,' which was a hypnotic play with a very powerful part in it for nie. I certainly loved doing it. "I was a showgirl with Kolb and Dill and had a great admiration for Laura Oakley, who was their leading woman. Every night I'd go to her dressing-room and watch her make up, glad to get any advice from her as to acting and the show business, or ready to sit quietly by and study her if she reheansed anything. At that time she was working in pictures as well as with the comedians on the stage. "One night she suddenly turned to me and said, 'Marie, why dont you try for the pictures? I think you'd make good. You have ex- cellent features for the business.' I said, 'Oh, I dont know ; I hardly think I'd have a chance, do you?' She replied, 'Well, nothing like trying. Come out to Univer.sal witn me tomorrow and I'll introduce you.' "Next day I accompanied her early in the morning and was put right into a comedy with Lee and Moran ; then I had a chance to work for Mr. Leonard in the occult play; then two pictures with Daddy Turner and 'The Village Blacksmith' with Harry Pollard. I did a great many dramatic leads after that with Otis T'lrner and Mr. Pollard. "The first two weeks I worked I earned ninety dollars a week. I simply couldn't believe it. You know what the life of a showgirl means hardly a cent left for necessaries, so much goes for board (Continued on paije 72) (Fnrty-nine) / The Girl from Out Yonder Fictionized from the Selznick-Olive Thomas Photoplay By Dorothy Donnell "X/OL- lo^^t some of vour hair, and all of your complexion Y and one sandal," itemized Flotsam, dispassionately. 1 gues^ that's all. Luckily I happened to be out with the lobster pots." She lifted one foot and scratched the ankle ot the other with a bare pink toe in a carefree manner. Like that king of France who replied to a courtier venturing to criticize one of his acts, "I am the State!" Flotsam might have said "Convention? I am Convention !" Mrs. Reggie Elmer, who had spent a very bad five minutes clinging to an unstable lobster pot and wishing fervently that she had been a bet- ter woman, giggled hysterically and made a futile attempt to wring a considerable portion of the Atlantic Ocean out of her salmon colored hair. "If you hadn't come along when you did — " she chattered, "my friends would have been saying, 'how natural she looks' in a day or so ! I suppose I am a perfect sight — you haven't a powder puflf about you. have you?" The young person in the baggy corduroy breeches shook her curly brown head. "N o p e. I wanted to send for one out of a Sears Roebuck catalog but Fardie wouldn t let me. If you come up to the house you canhave some tlour, tho. .\re you a w:ck-ender or a permanent?" _ Mrs Elmer seemed tn be staring thru a lorgnette. Us all very well to Ir.ve vour life saved, and all that but it does put one under obligation to such odd people 1 'I beg your par- don?" she queried, frostily, "if you mean am I summer board- er at the Point, no. That is my yacht off the Reef. Flotsam was serenely unconscious of bemg snubbed 1 thought I hadn't seen you at the Light," she rejoined, pulling the fjreat oars thru the water with magnificent sweeps of her strong young arms, "we're one of the sights, you know. All the summer folks come out to the Reef in Abe Barrow s motor boat and .squeal when ihcy climb up the stairs, and say how pictures-yiif' and 'I suppose its frightfully lonesome winters, and buy souvenir postcards." On the rocky ledge they were approaching two figures stood looking out into the dazzle of blue and gold. The one, sinewy, sliehtly stooping, with grizzled grey showing beneath the oil- skin hat, waved his hand as the dory swept about the ledge. "Thar they be!" he beamed, "I told ye my gal 'ud find her. She's the greatest hand to be pickin' up queer things out of the water, once 'twas a turtle, and once a devil fish and now your Ma!" ,. . , u "Aunt " corrected his companion with a slight cough. He was a handsome, well-tailored young fellow whom Captain Joe Barton had classified already as "a city toff." Just now his expression was oddiv compounded of anxiety, amusement and boredom. Edward Elmer was usually bored. He found thi flavor of Life insipid to his tongue, as is usually the plight o! those who have never wanted anything they could not have. "Oh Eddie !" chattered his aunt, hysterically as she tottereo over the side of the boat. "Oh, Eddie, it's a miracle I'm not lying at the bottom of the Atlantic! And after all those ex- pensive swimming lessons I took too! But this water was wetter, or at least it seemed so— it behaved so oddly— and I got a punc- ture in one of mv water wings— oh, Eddie, I have a feeling that when I get around to it I'm going to have hysterics — "There, there, Tootles!" her nephew soothed her perfunctorily, patting her upon the back— the i-'ifalh- ble masculine remedy for all feminine ills whether of body or soul. But his eyes strayed undutifuUy from the sod'cn salmon tinted head upon his .shoulder to the quaint little figure dragging the dory up beyond the water line. Flotsam was small, but her sturdy boy s attire gave her a look anything hut frail. She had crisp bronze hair, an audacious tip-tilted nose, a mouth, just a .shade too large for classic perfection, not a whit too large for charm, and eyes that, from long gazing had caught ■,c color of the sea. blue and gold, darkening into slate grey when there was a storm brew- ing. She gazed di- rectly and honestly at Edward Elmer without a trace of t h e sex-conscious- ness which a pretty girl usually shows when meeting a good-looking man. Gasping and gig- gling, Mrs. Elmer chattered out an in- troduction and fled up the rocks to the shelter of the light- house for her bath- ing suit was of the kind that is intend- ed for beach bath- ing, and likely t o dissolve embarrass- ingly when in con- tact with water. Captain Barton fol- lowed, leaving t h e two young people alone. Flotsam stood poised on a peak of granite, humming a little song, apparently quite unaware that Convention expect- ed her to make con- versation when she had nothing to say. There was nothing uneasy about her si- lence ; it was that of the sea itself, brooding without revealing its s o u 1. Edward, who was used to girls that chattered, girls that tit- tered, girls that flirted, girls that gossiped, but not to girls who said nothing at all, found himself suddenly desirous of hear- ing her speak. "It was certainly deuced lucky you were out this morning." he began, with a smile intended to put her quite at her ease, a smile that seemed to say, "Dont be abashed by my grandeur, little girl. I'm awfully democratic and all that!" "Wasn't it?" rejoined Flotsam, continuing to gaze out to sea with unflattering interest in the fleet of fishing boats just jutting out from harbor. Devil take it, but she was really ex- traordinarily pretty — rigged out in one of Clarice's gowns she'd be a winner. His tone lost a trifle of its patronage and ac- quired deference. "Tootles ought not to go swimming in anything deeper than a bathtub," he confided, "she loses her head too easily ! So you live out here on the Reef, do you? I suppose you must — " "Xo," replied Flotsam, coolly, "I dont get lonesome winters at all. Yes, indeed. I love the ocean. No, I've never been to Xew York. Yes, I'd like to. I'm not your baby doll, thank you, and I dont care to row over to the mainland some day and take a little ride in your car." Edward F.lmer stared at the mutinous little face blankly a moment then burst into a roar of laughter. "So that's what they say to you, is it? Then I wont say it. We'll talk about anything you choose, only do let me stay and talk. I'd like to awfully well, honestly!" Unexpectedly the stormy face opposite broke into dimples. Flotsam sat down on the roc!<s beside him with as much grace, in spite of her salt-stained corduroys and clumsy shoes, as tho she wore organdie and patent leather pumps. "Then tell me," she begged him. hungrily, "every single thing you know about rlollu-s" Her tone quickened, her eyes held (Fifliioiu) And so began, on the rocks beside the morning sea, the stsry that was to lead to other, stranger chapters a light almost holy. "Are they still wearing narrow skirts?" breathed Flotsam, "and tight sleeves, and are the hats turned up or down?" And so began, on the rocks beside the morning sea, the story that was to lead to oiher, stranger chapters, as the sea has other, somberer phases. It was the first of many talks they had, Edward doiiT? most of the talking, while Flotsam .sat enthralled, listening to the tale of a world as remote from her ken as Fairyland. "Why you allow it!" marvelled Clarice Stapleton. with the edge of spite in her voice, "that common little thing knows well enough who he is and how much money he has! Of course, I dont mean to imply that Eddie could be so ridiculous as to think of marrying her, but that sort is danger- ous. Marriage isn't the only way to get hold of a rich man's money ' Mrs.' Elmer looked shrewdly at the speaker. Morning was always unbecoming to Clarice, tho she was still able to shine under electricity. In the full, hard light her face showed every one of the thirty-two years — she only confessed to twenty- eight — of struggle and disappointment. Clarice had tried (lesjierately to marry alnrost every eligible young man she had inet since her debut, and the campaigns had left their traces in fine lines about her rather pale eyes, in a certain acidity of vievnoint, and drawn expression about lips that art rendered a vivid Vermillion. "She's young and pretty, you must retnember," she remarT<ed sweetly, and apparently without guile, "even in those outrag- eous togs slit wears she manages to look like a little soubrette in ,. mu>-.cai comedy, and withal she's as utterly natural ad unaffected as a wild rose." It was not that Mrs. Elmer really approved of Flotsam as a prospective niece-m-law, but— as any feminine reader will uiulcrstand— she took tli.stinct pleasure in making Clarice writhe. There were others than those on the yacht who regarded with alarm the friendship of Edward Elmer, clubman, million- aire first-nighter of all musical shows and Flotsam— the Oirl ( )ut' Yonder, the village called her. Of these, one, Joey Clarke, heavy of hand and feature, with hair burned a strange, tawny rc<l by long davs of fishing under the blazing sun, was the bit- terest'. Twenty-nine was Joey, a hard man, his fellows called him— a dangerous man. He could drink any other fisherman on the coast under the table without anything to show for it outwarilly save a tendency to smile and talk more than when he was sober. He could strike with his tarry fist a blow like that of a sledge hammer. He could hate faithfully— could love bitterly. .\nd he loved Flotsam Barton. There was a burn- ing in his eyes when he looked at her, a thickness on his tongue when he spoke to h' . , ,, "Cioing to let the city dude cut you out, Joey." his fellow fishermen jibed as the dory with Elmer and Flotsam put out from the Reef, "I hear they're as good as promised a'ready. What gal who c'n have silk gownds and a fine house in the city is going to choose a fisherman's shack?" To none of (heir jeers did Joe Clarke reply but his jaw had an ugly set, and his eyes, under scowling brows smouldered. Alone in his three-roomed shanty he considered possibilities. She had liked him well enough before that damned dude with his silk socks and silkier words had come. She would like him —well enough, if he should go. .\nd he should go. "I could kill him," Joey muttered, and played with the thought for a moment, but in the end relinquished it. "But I'm not going to. I'm not hankering to spend the rest Of my years in jail — or mebbe get kicked out o' life with a dose of iectricity. But if he stays much longer it'll be too" late — he's I'ot to go, but how — " His great fist came crashing down on the pine table, setting MOTION PICTURE the dishes chaflering with nervousness. His lips drew nack. "Why didn't I think of that afore?" he blazed, "if that dont .send h'im kiting nothing will !" Edward Elmer was surprised the next morning, to see the sliaggy head and lowering face of the most unprepossessing fisherman on the Cape rise over the edge of the yacht to be followed by six foot two of oilskins smelling vilely of fish long defunct. "I beg your pardon. Mister," Joey Clarke said sur- lily, ''but might it be as how I could speak with ye, a moment ?" But when the desired permission was given he seemed at a loss how to begin. His great hands, shaggy with black hair twisted his greasy cap, his eyes were fixed upon the far-away ledge of the (ireat Reef Light. When he did speak the words seemed somehow wrimg out of himself. "It's about Flot.sam Barton. I've heard you're sweet on her — is that so?" [•Ilmer's eyes flashed dangerously, but his tone was level ! "I'dont recognize your right to ask such a question. However, if it is the least interest to you I am quite willing to tell you that I intend to marry Flotsam. And now — if that was quite all — " he gestured suggestively toward the gangway, "it would be a pity to lose a morning's fishing — " Joey Clarke's great hands worked silently with the hat, a slov,-, dreadful twisting movement as tho he were strangling something. "You cant marry her," he said, "you cant marry her. It isn't safe — she comes from a bad stock — " Edward Elmer laughed scornfully, then, little by little the hiugh became mechanical and forced as his eyes studied the other's face. "Just what" — he wet his lips — "just what do you mean?" "I mean," Joey Clarke said heavily, with monotonous inflec- tion, "that she's the daughter of a murderer! And what's more Barton killed his own father. That's why he's tending the loneliest light on the coast — to keep out of the way o' the Law !"' "You're crazy," stammered Elmer, ashy of face, "stark crazy !" "You dont believe it?" Joey pointed toward the Reef, wtiite in the sunlight. "Ask him then! He knows I know it — 'twas me as found the old man with his head beat in and him lying in a drunk alongside with his hands — red — " Captain Barton touched the great brass reflector with his cham- ois as a mother touches the cheek of a new-born child. Next to Flotsam, singing below over her housework he adored his Light. It was somehow a symbol to him, those clear white rays brush- V< / \ ^, (Fifty two) CLASSIC ing the darkness triumphantly away — "Captain Barton !" He turned, startled, then extended a hear- ty hand. "Mister Elmer ! I didn't hear ye, ain't you a mite early this mornin? Flotsam's down- stairs— " "I didn't come to see Flotsam," the boy said tragically. The agony in the young eyes searching the tanned weatherbeaten face be- fore him drove the smile from the lighthouse keeper's lips. "I came to see you. To ask you — this man Clarke here says that you — Oh, I cant say it ! He must be lying — he is lying, isn't he. Captain?" The strength seemed to go from the gaunt figure before them. All at once he was an old broken man, an old frightened man with quivering lips that worked loosely and cheeks that twitched. His eyes roved dully from Elmer's tense face to Joey Clarke's implacable one. "So he's told ye?" he wheezed, "I've been payin' him for fifteen year to keep shet o' it. But — it's true — leastwise I s'pose it's true — " "You suppose it's true?" the boy snapped furiously, "dont you know?" "I was drunk," Captain Bar- ton said, heavily, "I used to go on sprees — those days. A n d 1 come out o' one of them with Joey here, shaking me, and hollerin' — and there was Pap — andmyclo'es all over blood — " "God !" said F.lmer, and shrank away shuddermg. Below stairs came the sound of a brisk broom and ihe lilt of a clear soprano. "I have heard the mavis singing, her love song to the morn — " "She dont know," the father cried, as tho in answer to some unspoken argument. "What makes you look so queer like? It ain't her fault! She ain't done nothin'," he plucked feverish- ly at the boy's sleeve, "what you turnin' away like that for? You aint — going — to leave her 'count — of me — " "I've got to!" In the face of Life's realities all the affecta- tions and artificialities dropped away from Edward l''lnier, and he spoke with his soul to the ear,-, of the other's soul. "I love Flotsam — but I'd be afraid, afraid hideously, of the taint in her, afraid of what — my son would be and do — " "She's good!" babbled the old man. "I wont never see her again —if you'll take her away — I'll promise you vou wont never hear of me! I'll give myself up, and tell 'em Pap didn't fall onto the cellar floor like they thought. I'll — I'll do any- thin' you say. on'y dont break my baby's heart, dont — " "I'm breaking my heart, too." But he was turning away, young shoulders sagging, young lips stubborn. "Tell her good- bye for me. I — couldn't bear — I'll have .\unty leave before another morning — oh, Flotsam — " Moments, hours passed, and the old man in the Light tower stood motionless, then he lifted his face to the great blind blue that showed thru the glass dome overhead. "Help me t' lie. God!" Captain Barton praved. "help me t' have my little gal." Flotsam gave a cry at the sight of the face he turned toward her, but he stilled her terrified questioning with a gesture. "I got to tell you something that breaks my heart, baby," he said, thru stiff lips that smiled dreadfully, "but it's the on'y way. I'm not — not yore pappy, not by blood — " Hours later. Captain Barton climbed the stairs that led to (Fifty-three) And he loved Flotsam Barton. There was a burning in his eyes when he looked at her, a thickness on his tongue when he spoke to her the Light, holding desper- ately to the iron rail. H i s knees shook beneath him, his head felt oddly dizzy and confused, incapable of thinking of anything but his duty — the Light that he must send out into the swift autumn darkness, the Light that must not fail whether hearts broke or no. "First o' all that." nuuiibled he, as he dragged himself up stair by stair, "and after — I'll think o' Flotsam — an' the rest — " Out somewhere in the dusk he had left her, palmer's arm about her. with her face, half frightened, half sorry, yet some- how wholly glad, turned to him as he waved her good-bye and dropped over the rail. The ethics of what he had done did not occur to him. He had denied his fatherhood to save her happiness, that was all of it, no more, no less. He had told his lie so well that it had pa.-ised as truth, and he thanked God. Somewhere out there — he looked down upon the dark heaving water.s — the yacht was lifting anchor to take his little girl away from him. out into the world where even his thoughts would get lost in trying to follow — "Th' Light— it's pitchy dark a'ready." He was working feverishly now. "Supposin' it shouldn't be lighted and the boat should go on the rocks! Where'cl I leave them matches— (/"orf"' For his hand, groping in the thick darkness had touched another hand. Joey Clarke's voice leaped upon his ears like some sava?e animal. "No you dont! The Liijht aint going to be lighted to-night. Get me? It ain't (joing to be lighted" For a moment Barton did not understand. He even tried to laugh in a forlorn, helpless way. "V'hat do you rnean. Joey? You're jokin'! I got to hurry becaubc the yacht and it's dark — " leavin' — the i^ •it"s not leavin !" Dreadful mirth shook tlie great body be- side him. "at least— not far. Send Flotsam away, would you? She was mme. 1 lell you-.iim.-.' .\nd she aint goin' to be any- body else's I" There was niadne>s in the wild words, in the gleam of the eye- balls in the darkncsv. madness in the clutch of the great, hairy hand>. "(iit out o' here, Marton ! I'll tend the Light to-nighl ! Git out o' here afore I serve you as 1 served your rai)|>y fifteen year ago — It was not until the door crashed behind him that Ca|ilniii Uarton realized the meaning of the last words. He heat the paiiel> with imi>otciit hands, hut the stout ash mocked his efforts. He >houted. begged, prayed, and listened to the walls Kiss hi- own crie> back u|Min him. From w ithin the Light tower was awful silence. He slid to his knees and peered thni the keyhole— darkness, utter, merci- les>. and— out there, helpless in the night yacht driving on the rocks — Flotsam — .Somehow he had staggered down the stairs and into the kitchen, found matches, a can of oil. "Ju>t a minute, dearie, I-'ardie's comin'!" the oid man groaned. He lifted a wooden chair, brought it down upon the stove with ter- rific force that nearly tore his arms from their sm-kets. I'everishly he poured oil on the splinters .Vnother chair — another — cla-ping the bundle of faggots in his arm. he -taggered out into the windy dark, and felt hi> way down the rocks. F.ven by daylight it was a hard path lo negotiate, steep, with unexpcctc<l pit- falls and ti--ures, but he panted on. falling, crawling on his hands and knee- Below him, and strange- ly near, sounded the hiss of t h e water on the pointed rocks. He strained h i s eyes and thought he saw lights moving thru the darkness — "Just a min- ute, d e a r i e," moaned F 1 o t- .sam's father, and touched a match to the oil-soaked w-ood. The flames streamed on the wind like wild locks of a Valkyrie's hair. Above him from the darkened tower came a «hout of fury. then, sickeningly the sound of a body hurled from a great height upon the rocks— afterward silence. The torch flared higher, casting wild shadows. In the red light of it the old man's face was hallowed with prayer. "Keep her safe— please Cxi ! My baby-keep her safe, please God !" "Fardie!" Light footsteps ran across the rocks, and Flotsam w^s beside him. straining him to her with strong voung arms Fardie! What are you doing' Dont look so. Fardie; it's me Flotsam! I've come back, and I'm never again !" He conTmued to wave the torch, staring down at her stupidly Bu.-youcant! You're going to be a lady-" His knees weak- MOTION PICTURE CLASSIC ened. She pushed him gently down and took the torch from him, holding it steadily. "I'd rather be just Flotsam. To-night — when I saw them dancing — the fine ladies, in their fine dresses — I knew that you'd lied, and that I was truly your girl, and didn't want to be anything else — " her voice broke, denying her brave words, but she went on. "He told me. Edward — everything. And so 1 came back to tell you it dichi't make any difference and I loveil you. 1 rowed away while they were dancing. They'll never miss me, Fardie — 1 didn't belong there; I belonged here on tile (ireat Keef — Out Yonder; I belong to the Light, Fardie, and to you '." ".\iid tome. I'lotsam!'' .said a new voice in from the shadow. Tall and handsome in his evening clothes. Edward I'.lmer stepped into the golden ring of light, hands outlield. "You didn't suppose you could run away from jiie, did you. dear!' They had both forgotten the silent figure of the old man, crouched among his rocks, and, looking from young face to young face shining with a light that was not from the dying torch, Captain Barton rose softly and stole away. Later there would be things to be told, later he might free his name from the taint that Joey Clarke, lying somewhere stark- 'y on the rocks had fastened upon it fif- teen years ago. Later he miglit reclaim the fathership he had denied. He sprang Out somewhere in the dusk he had left her, El- mer's arms about her, with her face half frightened, half sorry, yet somehow wholly glad, turned to him as he waved her good-bye and dropped over the rail up the steep ledge, into the tower and up the stairs to where the door swung open at the top. A scratch of the match, a flicker of a wick — and the Light shone out, splendid, .serene, over the dark fields of the sea. He held out his hands to the rays of it, ecstatic. "The Light — is stronger than tlie darkness — " cried Captain Barton, triumphantly, "what's there for us to be afraid of. God?" going to leave vou THE EXCEF'TiON By ll'altcr Puliht-r There's chani;o in evcrvthinc, alas' except a fcliow'.s pocket! This world is full uf chances; there's nothing liere aliiding ; All ihinRS are evanescent, flectiiijj. transitory, glifiinp. Tlic rartli, the sea. the .sky, the stars — where'er the fancy ranges. The tooth of Time forever mars — all life is full of ehan^jes. Like 'anrls upon the ocean's shore that are forever drifting. So all the fading sreiics ,if earth incrssaiitl\' arc shifting. Change rules the nii^?,hty uni\crse — there is no power to block it. < Fifliifimrj Double Exposures Conducted by F. J. S. TiiF. waif and her pitiful little pet ge- ranium are always with us. Witness the opening scenes of De Mille's "Male and Female" and of Toumeur's "The Life Line." A company has been formed out in Los Angeles to film the Bible in 204 reels. Some directors we know can ha r dly g e t a n '~ ordinary s t,o r y into that length. Recently we presented our com- posite feminine star of the films. This month we offer our ideal screen male star with : Lloyd Hamilton's hair. Ben Turpin's eyes. Bull Montana's ears. Chester Conklin's mouth. Ford Sterling's chin. "Fatty" Arbuckle's torso. Charlie Chaplin's legs. One of the New York newspapers has been listing the most popular lines of the spoken drama. We submit the following three subtitles to represent the photo- drama : "A lily growing in the mire." "Poor but honest." "The dawn of a new day." upon the cold-blooded and brainless way producers twist titles about. Incident- ally, Mr. Stroheim notes thaf Carl Laemmle, president 3f U., de- ends his c h a n gr by saying that "there are more blind husbands in the world than pinnacles" and that, therefore, more people would go to see the re-titled picture. Which, we sub- mit, is considerable reasoning! V Our all feminine football team for the season of 1919-1920: Gloria Swanson Left End Dorothy Gish Left Tackle Wanda Hawley Left Guard Louise Fazepda Center Corinne Griffith .' , Right Guard Kebe Daniels. .....: Right Tackle May Allison Right End Theda Bara Quarterback Lillian Gish Left Halfback Katherine MacDonald. .Right Halfback Elsie Ferguson Fullback "Syd Chaplin Finds Europe Is Un- settled" is the heading of The Motion Picture News story of the come- dian's attempt to produce on the other side. Something of a dis- covery, we'll say. Big Screen Moment of the Month Bebe Daniels in the allegory of "Male and Female." Courtesy Mack Sennett Comedies The British are protesting about American bathing girl comedies. Why ? The bathing girl is the screen prototype of the stage chorus girl. There is no other way to logically introduce the flapper except as an aquatic charmer, hence the bathing girl farce. Why permit the real thing behind the footlights and pro- test at an animated photograph of it i Erich Stroheim has been pur- chasing pages in the trade papers to complain about the way Universal shifted the title of "The Pinnacle." which he wrote and directed, to "Blind Husbands." It's about time some one took a determined stand (Fifty-fne) LILLIAN GISH By Chaplotte Becker A fairy's gifts were on her cradle shed — This Pierrette of the screen, whose happy wit And dainty store of fancy exquisite. Seems fragrant of old gardens, quaintly spread With tangled blooms of roses, white and red: As with swift gleams of joy or sadness lit Her winsome, little, wistful gestures flit Thru pictures hy lier grace dream-garlanded Sparkling with youth, her charm, shy, whim- sical, Enchanled-wise sets memory astir Unto the tunc of some forgotten dance. And leads, altho the leaves of autumn fall. Thru paths of rosemary and lavender, Back to that far-olT country of romance. "Aye, there's the rub," com- ments some one on noting that Chris Rub has been signed as comedian by Universal. How impressive are statistics! Mary Pickford's tabulator states that Little Mary will make 15 miles of drama in 1920 and that 100,000,- 000 people will crowd theaters in every land to see her. The subtitles of her plays will be translated into seven languages, including Chinese and Japanese. We'd like to see "Pollyanna" in Swedish. ".•\merican films are stimulating a desire among Brazilians to learn the English language," says The London Kinematoyraph. "Perhaps the pres- {Continued on page 83) Above. Sylvia Breamer, in "Dawn"; right. Geraldine Farrar and Lou-Tellegen in "Flame of the Desert"; below. Douglas Mac- Lean and Doris May in "23V: Hours Leave" The Celluloid Critic The Month's Photoplays in Review Two absolutely unheralded photoplays stand out of our month in the screen theater. One takes its place as a veritable celluloid cameo — and easily one (if the best pictures of the year. riiis silverscrccn gem is "The Gay Old Dog," (Pathe), based upon an Edna Ferber story. It was adapted — and admirably adapted — to the films by Mrs. .Sidney Drew and produced by Hobart Henley. Since we have long recognized Mrs. Drew's ability to sound the human note and Mr. Henley has heretofore been a director of no particular distinction, we give the major share of the credit to the former. Possibly we are wrong. Anyway, there is honor enough for both. Now "The Gay (M Dog." isn't dramatic, hasn't the so-called "punch'' ; indeed, it violates most all of what producers have deemed to be photoplay essentials. It is just a slice of life. It moves lei.surely, without forcing, to its logical con- clusion. Its story? The bitter fate of one Jimmy Dodd, who, weighted down by his dvinf mother's request that he "look out" for his three sisters, sacrifices his own love and hopes for his family. Then, as the years pass, he finds himself alone and loveless and he tries to be a "gay old dog." But he just cant — and so the picture ends wit!; the "gay old dog"' just a "tired, lonely old man in a ridicu- lous rose- room gone suddenly drab." This brief summary does not begin to reveal the direct humanness with which Mr. Henley and Mrs. Drew have unfolded Miss Ferber's tale. If "The Gay Old Dog" doesn't reach your heart — well, something is the matter with your heart. The tear is there, the tear of a vital heart-throb. We beg of you to see it, if only to observe the way thought can be put across on the screen. John Cumberland, "the gay old dog," has been playing so long before the footlights in risque boudoir farces that we had come to think him just an average comedian. But his playing in "The Gay Old Dog" is superb in its sublety. The remainder of the cast is well chosen. Indeed, "The Gay Old Dog" is well nigh faultless. The subtitles, for instance, are gems of fine screen expression, so rare these days. The other pleasant surprise of the month was "23p2 Hours Leave," (Para- mount), an adapted Mary Roberts Rinehart story, which introduces a new juvenile team, Douglas MacLean and Doris May, to the films. This is a de- lightful comedy revolving around a nervy young rookie's love for the daugh- ter of the commanding officer of his camp. There is a delightful freshness to the handling and scores of unforced laughs. Young MacLean proves to be a very pleasant young come- dian of whom we expect a great deal. .\nd let us not for- get the director in giving credit where credit is due. .Since David Griffith gave us his epic, "Broken Blossoms." we again look forward to new productions emanating from his studios with something of the expectation we once awaited his old-time Biographs. Mr. Griffith'.s latest, "Scarlet Days," (Paramount), is a tale of the mining camps of '49, built around a young outlaw, Alva- rez, said to have been a real character of California hi.story. There is nothing particular about Mr. Griffith's melodra- matic opus, altho Mr. Griffith, by a multitude of tiny touches, gets a little closer to what the (Fifty-six) By FREDERICK JAMES SMITH real pioneers and dance-hall favorites must have hccn. lUit ".Scar- let Days" is distinctive in at least one item: Kichard Harthelnicss' portrayal of Alvarez, a sensitive, finely attuned romantic perform- ance. Little Clarine Seymour makes a Mexican spitfire stand out and Kugenic P.esserer j^ives a \erv rommendahlc presentation of a grey-haired mining camp hellc. That high-spirited little comedienne, Dorothy (iish, is mil happy in "Turning the Tahles," (Paramount), a farce constructed ahout the effort of an unscru])ul(ius aunt to put a young woman in a sani- tarium in order to get control of her money. Miss (iish has licr moments, but the comedy itself is lame stuff. So is the direction. More of Norma Talmadge is revealed in "The Isle of Con<|uest." (Select), than in any vehicle ue have yet glimpsed. For in it Miss Talmadge plays an unhappily married young wife cast ashore in abbreviated masquerade costume U|)ou a desert island with a dash- ing stevedore. Of course, she comes to lo\e him. belicvin.g luiliby dead, and they are about to peiform a marriage cere- mony of their own, that they may become man and wife, when a steamer a]i- pears on the horizon. Friend husband is on board, but he prom])tly dies of heart trouble and things end happily for the .sailor and the widow. Miss Tal- madge is ade(|uate enough, aside from being optically interesting, but "The Isle of Cont|uest'' is just con- ventional screen drama. "His Majesty, the .\mer- ican," (United Artists), is another routine Douglas Fairbanks celluline cyclone. Doug gymnastics as a young Xew Yorker who gets involved in a middle Europe revolution and turns out to be the heir apparent to the throne. The star dashes from mantel to balcony and from housetop to window-ledge with his customary dramatic power. In other w-ords, "His Majesty, the American" is just another Fairbanks comedy of the usual sort. Geraldine Farrar's newest. "Flame of the Desert." ((ioldwyn), does not impress us. Miss Farrar has the role of a British girl in Cairo during a threatened revolution of natives. She loses her heart to an .Arab leader who turns out to be a British officer on secret service. Lou-Tellegen is the Arab-Iinglishman. "Flame of the Desert" is a machine-made vehicle and nothing more. It has all the careful photography aftd direction of (loldwyn produc- tions—and all their lack of heart and imagination. Dolores Cas.sinelli's "The Right to Lie," (Pathe), is hectic, unreal stuff. Miss Cassinelli is seen as the daughter of an Ameri- can who has innocently been guilty of bigamy. He cannot reveal h.is first marriage, but'does his best to right matters, making the child his ward. Every one suspects a sordid relationship and there are reels of tears and emotionalism. Constance Talmadge's "A Virtuous Vamp," (First National), is, despite the cheapness of its title, a bit more amusing than Miss Talmadge's recent vehicles. An artless young British society belle, under an assumed nanie. invades the .\merican business world and just cant help vamping every man in sight, thereby upsetting business organization with every flash of her smiling eyes. It is adapted from Ch'de Fitch's "The Bachelor," the whole comedy being ruthlessly shifted from masculine to feminine (Continued on pai/c ^9) (F..iftyseven) John Cumber- land, above, in "The Gay Old Dog"; left, Clar- ine Seymour and Richard Barthel- mess in "Scarlet Days"; below, Dorothy Gish in "Turning the Ta- bles" Filming "Treasure Island (Fifty-eight) The Riddle Man By PEARL MALVERN WHEN I went to "get" William Russell I went to the Victor Studios somewhere on llth Avenue and I French-heeled shakily over cobblestones and slunk into weird arched door- ways and around somehow sinister corners. There was the rankly humid smell of docks and of salt water against the docks, and I felt that I might be in "Limehouse" rather than on an interview. There was something distinctly "dififerent" about it all. However, I thought, w^hen I get into the star's dressing-room I shall be in atmosphere again. He will run true to form, some form or other. Perhaps he will be tailored, and correct and, to the eyes, an "objet d'art," and we will discuss his fans and his hobbies and I will kiioiv that I am on an interview. Which only goes to prove one dare not think in tracks on any man. I found Bill' Russell to be quite in atmosphere. Oh, quite — in Limehouse and the cobblestones. He was tiotliinq if not in atmosphere. Besides being Gargantuan in build, which is not his fault but quite to his attraction-credit, he was attired in a flannel shirt open at the throat, nondescript and very utilitarian There was a tie bound round about his brow and he talked with great difficulty, having to hold in two recently displaced teeth besides the little matter of enunciating. The two teeth, one of which fell out upon the floor with quite a thud during the course of the subsequent conversation — I tell you this to kill suspense — I wish mine might have been as briefly killed — the two teeth, I say, had been removed from their moorings during a "scene" taken some fifteen minutes or more, or less, before my tooth- some arrival. Which is a rather conclusive proof that when Bill Russell is before the camera he is not merely posturing. He fights his fights as literally as he would fight them were he in the Klondike or the Northwest, or Limehouse or an> section where gentlemen with giant builds make pleasant havocs of their fellowmcn. There is none of the obvious about Rill Russell. He gets you guessing. You dont know whether you're going to like him, or whether you're not. You dont know whether he's .going to let you like him. He doesn't gush. He doesn't pose He doesn't attitudiiiizc. There is none of the mummer. He has the air of reflecting quite outside of your being there at all. He talks ^"^^^^^^^^^^^^^^^^^^ quietly and it takes hnn some time to warm up to his subject. He weighs things. He does not speak lightly or glibly. Just in the beginning you begin to despair of him as "copy." You dont (|uite know whnt to make of it, of him. You fidget and begin to believe that you had better go. Then yon find that he is saying things here and there that are immensely worth while. He is saying them in a manner of spe:iking as tho he were alone and musing aloud. You realize with some- thing of a shock that he had no formula ready to spring on you. He is just talking — is just himself. He may and may not have said these same things before. If he has. he doesn't know it. It is the thing ]ie is thinking of at the moment. Yon have tho impression of something deep and primitive of .some miglity force leashed up. of something barely stark and ele- mental. It conies to you that the confines of llie drc>siiig-room are far too small. There is a need of space and then more space. He talks with a few wide gestures, with every so often a piercing look from his eyes which are decp-.set and grey. He talks sparsely, but one g-pts big canvases of thought . . . impressions . . . He is tired of stage life, he says. He wants to travel the great world over. Roam the seas and blaze strange trails and climb peaks that ravage the skies. Tie wants a gootl comr.-ide by his side— a woman "That would be more than half the joy of it." he said. (Coiithutcd nn pat/c 74) ( Fiftif-iutte) "Men want good women," says William Russell, in discussing marriage, "wholesome women — strong, sanely balanced women. Women who are, primarily, good comrades'* An Earle and His Domain At the left is a glimpse of Mr. and Mrs. Earle Williams with the Wil- liams bungalow background (Sixty) THE RIGHT WAY TO KEEP YOUR NAILS ALWAYS PERFECTLY MANICURED Just a little regular care makes your' hands beautiful NAILS like rosy pearl inlaid in a del- icate setting — a setting of smooth unbroken cuticle, a perfect curve which repeats the curve of the nail tips. It is easy for anyone nowadays to have this alluring grace of perfect, nails and cuticle — so easy that people no longer excuse the lack of it. The sensitive nail root is only one-twelfth inch below the cn- ticte. When yon look through a magnifying glass yon sec the unpleasant results of cuticle cut- ting. Today ill kept nails are as unpardonable as ill kept teeth. For it takes but a few minutes of regular care each week to keep your finger nails always perfect, your cuticle smooth, thin, unbroken. Make some day of the week your regu- lar day for manicuring. Then regularly on this day give your nails the care they need. Do not forget that the most important item in the appearance of one's nails is the care of the -cuticle. Broken cuticle is like a broken setting to a jewel. Coarse overgrown cuticle is equally unsuitable. Yet many people ruin the cuticle through ignorance of the proper method of car- ing for it. Nn'er cut it. This is ruinous. The nail root is only 1/12 of an inch below the cuticle. When the cuticle is cut, it is next to impossible to avoid ex- posing the nail root at the corners or in some other little place. The root of the nail is so sensitive that Nature will not permit it to remain uncovered. The moment a tiny bit is exposed, new skin grows very quickly in that place to cover it. It grows much more rapidly than the rest of the cuticle. This spoils the sym- metry of the curve at the base of the nails. It causes uneven cuticle and hang nails. It gives a coarse ragged appear ance to the border of your nails. Realizing this, an expert set himself to the task of discovering a safe, effective way to remove overgrown cuticle. After years of study he worked out the for- mula of a liquid, which gently, harmlessly softens and removes the surplus cuticle. This he called Cutex. Wrap a little cotton around the end of an orange stick (both come in the Cutex package), dip it into the bottle of Cutex and work it around the base of the nails, gently pushing back the cuticle. Instant- ly the dry cuticle is softened. Wash the hands, pushing back the cuticle with a towel. The surplus cuticle will disap- pear, leaving a firm, even, slender nail base. If you like snowy white nail tips apply a little Cutex Nail White underneath the nails directly from its convenient tube. Finish your manicure with Cutex Nail Polish. For an especially brilliant last- ing polish, use Cutex Paste Polish first, then the Cutex Cake or Powder Polish. If your cuticle has a tendency to dry and grow coarse, apply a bit of Cutex Cold Cream each night. This cream was es- pecially prepared to keep the hands and cuticle soft and fine. It takes only about fifteen minutes a week to give your nails this complete manicure. Do this regularly and your hands will always have that peculiar at- tractiveness which adds a subtle appeal to one's whole appearance. To keep yot.r cuticle a perfect jrame for your nails, you must use the right softening method. A complete manicure set for only 20 cents Mail this coupon (below) with 20 cents and we will send you a complete Midget Manicure Set, which contains enough of each of the Cutex products to give you at least six mani- cures. Send for it today. Address Northam Warren. Dept. 901, 114 West 17th St., New York City. // yo'i live in Canniia, address Northam U'ar- rrn, Def'l. got, 3<vi Mountain Street, Montreal. M.\IL THIS COUPON WITH TWO DIMES TQD.'VY. NORTHAM WARREN Dept. 901, 114 West 17th St., New York City. Name Street Ci(y Stale (Sixty-one) ^aiaBBBS£Wgi'<sag^!S3S^r'aife ■ A Sennett Salome (Sixty-two) What Does Your Mirror Reflect? Are ijou proud and satiS" fled because it reflects a skin that ishealthi), glov- ing and altogether charm- ing? Or are qou discouraged because (jou haue tried so roani] recommended treatments and still tjour skin loolcs muddq. oilq and colorless ? Qiue Resiaol Soap a trial Its soothinq. refreshing lather, searches euerij pore, and helps to cleanse them from the impurities ujhich haue lodged there, qiuinq the skin a chance to breathe. SOLD BY ALL DRUGGISTS AND DEALERS IN TOILET GOODS Resinol Shaving Stidt delighlJuUy ioolhing to men with tender /aces. Alia in India St Mme. Neizimjova in her forthcoming Anglo-India drama, " Strong er Than Death," released by Metro. "Stronger Than Death" has its basis in I. A. R. Wylie's novel, "The Hermit Doctor of Gaya" PnoiosTiphi courtcijr Metro Coiporation. (li'util four) Myrtle Stedman In "The Silver Horde ' As star in the screen presentation of Rex Beach's world-famous story of the great north, "The Silver Horde". Miss Stedman has enhanced her popularity. Note the "twelve pound look" Myrtle's beautiful back is receiving. Goldwyn Picture May I speak a good word in behalf of Ingram's Milkweed Cream? It "plays opposite me" daily— on my dressing table, and I'm sure I do not know what I would do with- out its aid. Ingrtim's Milkweed Cfearil You may have noticed how we emphasize the therapeutic property of Ingram's Milkweed Cream. As we have said before, it is exclusive to Ingram's Milkweed Cream. We lay stress upon this therapeutic quality because it does actually "tone up" the skin tissues and keep them in healthful condition. Ingram's Milkweed Cream is a wonderfully softening and cleansing emollient with this specific therapeutic quality that is so wonder- fully helpful to the skin. Buy it in either 50c or $1.00 Size Ingratn*s ^veola ^Souveratne FACE POWDER Acomplexion powder especially distinguish- ed by the fact that it stays on. Furthermore Q powder of unexcelled delicacy of texture and refinement of perfume. Four tints- White. Pink. Flesh and Brunette-50c. ItigfawLS fRouge "Just to show a proper glow" use a touch of Ingram's Rouge on the cheeks. A safe preparation for delicately heightening the natural color. The coloring matter is not absorbed by the skin. Delicately perfumed. Solid cake. Three shades— Light. Medium and Dark-50c Wimlsnr, (Int.. Canada FREDERICK F. INGRAM CO. Estjhli^he.l 1.SS5 S,l Tcntli Si.. DKiKOlT. L'. S. A. Foreign Distributor* Africa, South, C. A. Boiua SleytlcrsBldK . Johani Philippines: F. A, Thompson CommiTcinlCo . Inc. Sleytlcrs Bld^ . Johanne^burs La Campana BldK . Manilm Australia: T W, Cotton, Fty. Ltd Africa. Brilish East: A. Ambrose Smith Melbourne Stnn.lar.l Bldns.. Nairobi Canary Island*: Men.Jez Bros . Veira y Clav.jo '.^S Las ('almas, Santa Crui di- la Palma Trmidad: L.C. Wharton San Fernando China: Mustard & Co. ShnnKhai Coupon *^*2* (Look for proper address at left! I enclose 6 two cent stamps in return for which send me your Guest Room Package containing Ingram's Milkweed Cream, Rouge, Face Powder. Zodenta Tooth Pow- der and Ingram's Perfume in Guest Room (Sixty-five) Fishing Tackle and Lip Sticks Herewith the Al Christie comedy girls-r-unfortunately nameless — demonstrate the relative value of a fishing pole and that first aid to femininity, the lip stick. Personally, we pin our faith to the last named article fV >'i<^A- -■■■ >* (Sixty six) "The Proudest Moment of Our Lives Had Come!" "We sat before the fire place, Mary and I, with Betty perched on the arm of the big chair. It was our first evening in our own home! There were two glistening tears in Mary's eyes, yet a smile was on her lips. I knew what she was thinking. "Five years before we had started bravely out together! The first month had taught us the old, old lesson that two cannot live as cheaply as one. I had left school in the grades to go to work and my all too thin pay envelope was a weekly reminder of my lack of training. In a year Betty came — three mouths to feed now. Meanwhile living costs were soaring. Only my salary and I were standing still. "Then one night Mary came to me. 'Jim', she said, 'why don't you go to school again — right here at home? You can put in an hour or two after supper each night while. I sew, Learn to do some one thing. You'll make good — I know you will.' "Well, we talked it over and that very night I wrote to Scranton. A few days later I had taken up a course in the work I was in. It was surprising how rapidly the mysteries of our business became clear to me — took on a new fascination. In a little while an openmy came. I was ready for it and was promoted — with an increase. Then I was advanced again. There was money enough to even lay a little aside. So it went. *'And now the fondest dream of all has come true. We have a real home of our own with the little comforts and luxuries Mary had always longed for, a little place, as she says, that 'Betty can be proud to grow up in.' "I look back now in pity at those first blind stumbling years. Each evening after supper the doors of opportunity had swung wide and I had passed them by. How grateful 1 am that Mary helped me to see that night the golden hours that lay within." In city, town and country all over America there are men with happy fami- lies and prosperous homes because they let the International Correspondence Schools come to them in the hours after supper and prepare them for bigger work at better pay. More than two million men and women in the last 28 years have advanced themselves through spare time study with the I. C. S. Over one hundred thousand right now are turning their evenings to profit. Hundreds are starting every day. You, too, can have the position you want in the work you like best. You Can have a salary that will give your family the kind of a home, the comforts, the little luxuries that you would like them to have. Yes, you can ! No matter what your age, your occupation, or your means — you can do it! All we ask is the chance to prove it. That's fair, isn't it? Then mark and mail this coupon. Thare't no obligation and not a penny of cost. But it may be the most important step you ever took in your life. Cutout and mail the coupon motv. n INTERNATIONAL CoVrESPONDENCE SCHOOLS BOX 6769, SCRANTON. PA. . lout obhgatlns me, how I can ■ tlon, or In the subject, b^ore which Imark i ~ KI,E<lTKICiL E>GINBKR ~ Electric Llahilng Kod Rillwaya Electric wTrinK rclegraph EnKlnecr TelBphoQC Work I1F.(:|IA.MC1I, VNSINESB Mechanical Draftcmin Machine Shop Prictlc* Toolmaker Gaa Engtnr Operating (MVII, KNfllNEKK Surveylnit and Mapping UINK KOIlKHiN OU ENeiMIRR SriTIOKtllT ENeiNSBR Marine Eniilnacr Ship Draftaroan ARCHHECT _ Coniracior and Builder ^^ Archlieciural Dratumta Concrete Builder nStructural Engineer '^PLl'HIItNG ANII IIBlTmO Sheet Meial Worker _ Texille Overeetr or SupC n CHEMIST Navlffatloo □ SALESMANSHIP ^ADVERTISING 1 Window Trlmmtf _ Show Card Wriisr ^ Sign Palnier Railroad Tralnmao ILLUSTRATING Cartooning BrNI-NEfiS HiKiGKMIIT Private Secrelary BOOKKEEPER Stenographer and Typlat Cert, Public Accounlanc TRAFFIC MANAGER Railway Accoununt Commercial Law GOOD ENGLISH Teacher _ Common School Sublacto . Mathemallca "civil service Railway Mall Clark UiTOHOItll.R Oi-rRlTINO alDt« Rapatrlnt I ifllllLCML'K Pealtrr iUUIa '11 Eir^ iif r.ni i in** ttrlnR I^Spaal* TL'KK in Vr»n*t «UlDg |~ lullaa Preient Occupation- (Sixty-seven) /Mi Get Drop on that Cou^ TXnNTER— draft — 'cold. Take care — prepare! To ward off th« alTicI of wcl fiet and ex- posure, use Dean's Mentho- lated Cough Drops — indoors or oot. Oet thsm uiTwbere. D«an Medidne Compuijr MOwaokM, WIac«asiB Mentholated h, bnllta lilUr. Okiliic* la, ■ii<<ili, C«Ml, Taaar Isijt « laajs 'Mb. H...a. 0M». OnM. TB. BMTrWilinS^ u«untemi(rnne,iai. Ssi.n enciM, Bowlegged Men Your legs will appear straight when you wear Straightleg Garters RanvkAbl* tnTmUoD— CombintUon haa»- ■ipporur tnd p • D t-1 • f Bt/alfhUDti^ QHUly i4JuB(*e to lit rtrltui i*%nm ■< a**l«l»: u fuy to put on uid ccmfoct- ebl* to wp»r u u\y ordjnuy f*n*r— ■♦ hv«M4 er »Etf4*d r»n««; Juit tn InimJout vvdti ft/l«r fop bowltertd mrti— ImprwT,* \XK>»*tUit» wond'rfullj. Bowlmtx) mm MOTION PIC'IURK If I Were King (Conlinued from page 33) ••li> la ilila tattle aa- S-L GARTER CO. 7H Tnaet C«. BUs.. DAYTON, OHIO hood, and where there had been a hundred coxcombs, stood now a hundred soldiers eager to tight for lionor and country and king. Kathcrinc Vaucellcs came swiftly up the steps of the dais and flung herself on her knees before Villon, taking a rib- band from her hair, still warm. "You will wear my colors, my lord Constable?" she asked with a wonder- ful blush, "and until you come back I shall pray for you !" Louis looked down at her, smiling evilly, then turned to Villon, ".\fter such a con- quest methinks Burgundy should be easy for you, my lord Constable !" he sneered. "It is easier to win a woman under a borrowed name tlian wearing one's own ! I wonder how the lady would answer the love-making of one Master Francois Vil- lon?" The Grand Constable stood motionless, staring blankly down at the mocking smile of the King, then suddenly he groaned as tho the words had been daggers piercing his heart. "I have been living in a fool's paradise !" quoth Fran- cois Villon, "but I'll not die with a lie on my lips. Katherine !" he turned to the girl, standing wonderingly at his side; "Kate! Listen to me, and loathe me! You have known me one week as the Grand Consta- ble of France, a very gallant nobleman, who loves you — better than aught else un- der the sky." His voice shook, but he forced it on. "Yet the name is not mine, this fine suit — borrowed, my position here at court a whim of the King. Only my love is no sham, but purest gold. Lady — Lady! Aside from that — " he drew his great figure proudly up, facing the court, "I am a pitiful impostor, a pasteboard nobleman, known better as one Francois Villon, wine-bibber, wastrel — and worse a sottish fellow unworthy of any woman's love, least of all of yours, Sweetest of Women !" Katherine Vaucelles did not cry out, nor shrink away. But in her eyes he read the horror of him, and turned away, try- ing to smile. "At least I shall hope to crown a shameful life with a good death, Sire," Villon said quietly, "if Heaven is kind I shall never see tomorrow's sun !" In the great court of the palace on the morrow workmen were raising a stark structure, a tree of evil fruit, the gibbet that loomed, a thing of dread in the sweet yellow morning air. From the ter- race the King looked down at it smiling ironically at his secret thoughts. Present- ly he turned to Katherine Vaucelles, who with the other women of the court stood beside him, and his tone mocked her white silence. "It is a pity — is it not, Kate, that our patchwork Constable did not get his wish for an honorable death? But no doubt you will be glad to see him dangling from yonder gibbet who dared make a mock of winning a great lady's love!" The girl did not answer. She stood mo- tionless as the court gradually filled with a rabble, eager to welcome the liberators of Paris back again. Even when the fan- fare of trumpets heralded the victorious troops and with Villon riding at their head as they entered the square, she did not lift the heavy lashes that hid her eyes. Very tall, very straight, Francois Villon mounted the steps of the terrace and knelt to lay the torn battle flags of Burgundy at the feet of the King; then rising he lifted his hand for silence. ".And now the Grand Constable of France has one more duty to perform," said Francois, in a ringing voice, "and that is to decree that Master Villon shall be hanged from yonder gallows until he is dead, for the many sins that he has sinned." A great cry rose from the crowd, which surged forward threateningly, but Louis, the King merely smiled his twisted smile. "Which of you will die in Master Villon's stead?" he asked them, "and thus save the life you seem to prize?" The murmur (lied. Men shrank back, looking whitely into one another's faces. Then, clear and high came a woman's voice across the sullen silence, and Kath- erine Vaucelles moved down the steps un- til she stood at Francois Villon's side. "I will die for him. Sire," she said glad- ly, "for that I could not live without him—" Francois Villon caught the slim white hands with a great cry. ".\nd is that so, oh my dear Love?" he asked her, "you would do that for me?" He lifted his face to the sky. "Now I thank thee, God in Heaven, that this thing has come to me !" He touched his lips to the slender fingers reverently. "And now. Brave Heart," he told her, "leave me, for a little while, I think that we shall meet again, Kate — beyond the stars." "If you go. I go also," said Katherine, lifting the crimson flower of her lips to his, "but first, give me my betrothal kiss, Francois — '' Again the multitude moved forward, again the voice of Louis, nasal, faintly amused halted them. "I have made a great discovery, friends — I have found one man whose heart is pure gold, one woman whose soul is all angel. I give the man his life, the woman her lover. True man and true woman — to each other's arms !" And who would venture to disobey a king? The Answer Man Pearl White Fan.— Study hard. You'll get there some day. Knowledge comes, but wisdom lingers. Fay Tinclier is with World. Marion Davies is with r elect. What do you mean when you say that that player is "tough" ? Oriental Thfada.— Why not? Poetic tal- ent is given as well to the peasant as to the knight. Florence Turner isn't located perma- nently. All in care of Fox. Bobby Links.— I'm pretty sure it was James Bryce who said "America should be particu- larly thankful for its remoteness from Euro- pean quarrels and menaces," but that was several years ago and he could not say that now. Very few players have time to write personal letters. fSxxty-eight) CLASSIC Erich Von Stroheim and the Miracle (Continued from payc 35) him there, hut tliat I did know, for I had worn such a rihbon myself. 'All right,' he said, 'go ahead and get me the real thing.' "ijorrowing three dollars from my landlady, Lord knows how much I al- ready owed her, I bought the ribbon and iho in the meantime Mr. luuerson had given up the part, Henry Walthall wore it. Later, Mr. Emerson asked me if I had ever read 'Old Heidelberg.' I told him I had seen its first performance ill Vienna and knew much of it by heart. I nearly fell over when he told me he was going to film it and that I was to be his assistant director as he wished the details to be correct. I had been starving and the $18 per week seemed a fortune. "Then, one day he asked me how long it would take for me to get ready to go to New York with him. Thinking of my limited wardrobe of a couple pair extra hose, a shirt or two and a few stray col- lars, I replied that about seven minutes would do. Then, like a flash I remem- bered the many debts I owed — who would pay them? I told Mr. Emerson about them and jumping into a car he drove around with me and paid them all. Great, wasn't it? "Now, someone had borrowed my only satchel, so wrapping my few clothes in a newspaper I started for New York! I stayed three years, returning for 'Hearts of the World.' "My opportunity really came becaijse of my understanding of detail — and I am a crank about this. Detail is the un- j mistakable atmosphere that places the story and there are always many specta- tors who know what is correct, we must not forget this.',' Returning to the big stage where Mr. von Stroheim is directing another pic- ture, we forget all about the Past and spent several hours in a very vital Pres- ent. After calling the company together and discussing a few points, the work began. "His Great Success'' is a big story con- taining an after-the-war problem and laid in Paris at the present time. With the orchestra playing the dreamy "Je T'Aime Waltz," over and over, while an intense scene between Clyde Fillmore and Una Trevelyn was being directed, I grew deeply interested in watching Mr. Von, (as he is afl^ectionately addressed by his company), for he acted out the entire scene in detail for each one, rehearsing several times until it was .satisfactory. He knew exactly what he wanted por- trayed— subtle touches, mere suggestions — which carry such weight in the psy- chology of a picture. "Here is a play," said Mr. Von Stro- heim, when the scene was over, "with all the allure, the vivacity and the lightness of Parisian life, with a tragedy, and it must be handled very carefully to express the meaning desired. I try to have the scenes taken con.secutively, w-henever pos- ( Continued on page 98) (Sixty-nine) Prettier Teeth Safer Teeth— Without a Film All Statements Approved by High Dental Authorities It Is Film That Mars and Ruins It is known today that the cause of most tooth troubles is a slimy film. You can feel it with your tongue. That film is what discolors — not the teeth. It is the basis of tartar. It holds food substance which ferments and forms acid. It holds the acid in contact with the teeth to cause decay. Millions of germs breed in it. They, with tartar, are the chief cause of pyorrhea. The film is clinging. It enters crevices and stays. The tooth brush does not end it. The ordi- nary tooth paste does not dissolve it. So millions find that well- brushed teeth discolor and decay. Dental science, after years of searching, has found a film com- batant. Its efficiency has been amply proved by clinical and laboratory tests. Able authori- ties approve it and leading dent- ists all over America are now urging its adoption. A Free Test to Every Home This new method is embodied in a dentifrice called Pepsodent. And a 10-Day Tube is sent to everyone who wishes to prove its efficiency. Pepsodent is based on pepsin, the digestant .of albumin. The film is albuminous matter. The object of Pepsodent is to dissolve it, then to day by day combat it. But pepsin must be activated, and the usual agent is an acid harmful to the teeth. So pepsin long seemed impossible. But science has discovered a harm- less activating method. And millions of teeth are now being daily brushed with this active pepsin. We urge you to see the results. They are quick and apparent. A ten-day test will be a revelation. Send the coupon for the test tube. Compare the results with old methods and you will soon know what is best. Cut out the coupon so you won't forget, for this is important to you. orr. ,1 c " BEG. US The New-Day Dentifrice Now Adviied by Leading Dentists Everywhere Ten Days Will Tell Note how clean the teeth feel after using Pepsodent. Mark the absence of the slimy film. See how the teeth whiten as the fixed film disappears. You will then know what clean teeth mean. Ten-Day Tube Free THE PEPSODENT COMPANY. Dept. 882, 1104 S. Wabash Ave., Chicago, 111. Mail 10-Day Tube of Pepsodent to Name . . . Address . MOTION PICTURE CLASSIC The Cinema Comes to Carleton— (Continued fro Ho .elected me because I feel so look seventy-one all right, bi.t how about the twenty,' I answered. "You know the advertisement, 'Is she twenty or eighty?' Why didn't you con- sult them ?" we asked. ■■Dont be tlippant. It is a serious sub- ject. .\ man who was the original 'Shade of the Sheltering I'alm' man in 'Flora- dora' doesn't look twenty. You know that. But I got busy and worked with spirit gum and juvenile powder until I had done mv darndest and when I went down they all agreed that angels could do no more. So I went back and tried the old man and for my pattern I used a picture of mv revered grandfather. He was a kindly' soul and his make-up was not difficult to copy. I found it far easier than the other. My efforts met with equal success, too, and Mr. Maigne said 'The part is yours,' just as tho I had been begging for it.'" "An incident that occurred in the stu- dio made me think that perhaps I pos- sessed latent powers of make-up which I never suspected. On my way to the dress- ing room I asked one of the men in the studio if Mr. Barrymore had come in yet. He hadn't so I went upstairs to experi- ment with my juvenile make-up. When I came down I asked again and he said 'Xo, he isn't in. Your father was looking for him awhile ago.' Later, after I had ]>ut on the old man's make-up, I stood talking to Lionel Barrymore and the man saw me and said, 'They have got the whole family in this picture, haven't they?' " "How many pictures have you made?" we asked. "Only a half dozen — no, not that, only five." "How does it happen that you have waited so long to get into pictures? You have been such a success and it might have happened long ago." "I wasn't ready," answered Mr. Carle- ton. "I wanted to sing." "But, look at Caruso and Mary Gar- den and — and Geraldine Farrar !" we add- ed, hastily, as being, perhaps, a happier illustration. "Yes, I know, but I had inherited the Carleton voice, they said, and I was sort of expected to sing. Had been doing it ever since I was a choir boy at the age of ten. And then, you know, I was in Boston most of the time and in Europe part of the time and to tell the truth I never had any particularly brilliant offer made me." "But you certainly are a good actor on the screen and you have that peculiar something which has nothing to do with beauty and which is, to us, at least, far more essential, ^^iss Ferguson has it, too. That is why you arc so delightful oppos- ite her. That 'peculiar something' is what some people call 'class,' which would be a very good word if it were not such an overworked one." "Thank you for them kind words. Par- ticularly for 'class.' The word does not "No strongly on the subject." Here Rubv de Kcnier stopped at the ta- ble and we presented Mr. Carleton. "Meet Miss de Kemer." we murmured, just like a movie title. One of our friends said that nobody ever introduced anyone that way in real' life and we are going to prove to him that he is wrong. We do. That's how devoted we are to the cause. I f the movies do not talk like real people, let real people talk like the movies. The ef- fect will be the same. Miss de Kemer joined a party at an- other table and the waiter brought some hot com muffins but it seemed as tho evervone we knew was at the Knicker- bocker that day. As they say in the mov- ies "came Robert Warwick" and "came Edward Earle" and "came Percy >rar- niont" and to each we said boldly. "Meet Mr. Carleton." "You know them all, donl yuu," he said, when we had returned to our muf- fins. "Oh, yes I" we assured, "and it is fas- cinating to go around with them and have people stare at you. One day when we stopped to talk to .Mice Joyce in front of Claridge's the crowd got so thick we had to call a traffic policeman to get us thru." "You don't see any such demonstra- tion over me, do you? I haven't made enough pictures yet to become interna- tionally famous." "Dont worry; anyone who saw you in •The Society Exile' with Elsie Ferguson, isn't likely to forget you. But the trou- ble with you is no one would recognize you. We were all prepared for a dark man with a moustache, wearing a uni- form, and here you are — " "Dressed in tweeds with a smooth face and also red-headed. But, you know, red hair takes black on the screen." "YoUjand Petrova," we said musingly. "But you do look, oh, so different in real life." "So it seems. I went over to the stu- dio on Fifty-sixth Street the other day and the boy at the door held me up. 'What do you want?' he said. 'I want to go to work.' 1 answered. 'We ain't doing any casting today. Come in Monday.' But wait until you see me in 'The Copper- head !' I have to portray a boy of twenty and an old man of seventy-one. When they were casting the i)lay they told me of their quandary and asked me to look around for a good actor who could look twenty and make up to look seventy- one." ".\ good actor?" we said. "Yes," answered William, Jr., "and, of course, that let me out. But 1 scoured the country and couldn't find anyone who wished to undertake the job. When I re- ported this to Charlie Maigne. he placed both hands on my shoulders, looked me straight in the eye and said, 'William, you and I have been friends for a good many years ; you must play it I' 'I can m paije 37) offend my aesthetic soul in the least, and if one must earn his living (and one must) there is no more congenial way of doing it than by working in front of the camera. I love the work." "If it weren't for the cinema field days," said we, "and the community act- ing," said he. THE SCREEN MOxVTH IN REVIEW Juniiita Hansen is being starred in tlie Pnthc serial, '"The Red Snows." Kathleen Clifford is pla\'in(; opposite Douglas Fairbanks in his latest picture. Macklyn Arbuckle has returned to the screen, with the San .\ntonio Picture Corpora- tion. Alan Forrest, long Mary Miles Minter's lead, is plavint; opposite May Allison in "The Walk Offs." l.ieut. I'rank C. Badgley has brought suit for divorce, in the New York Supreme Court, against June Elvidge. Bessie Love's Vitagraph contract has ex- pired. Lew Cody is now making his own pictures at the Astra studios in Glendale, Cal. Noah Beery and Mabel Julienne Scott have the leads in the forthcoming Paramount revival of "The Sea Wolf," being directed by George Mel ford. King Vidor has severed his connection with Brentwood and will produce for himself, fea- turing his wife, Florence Vidor. The Vidors were recent visitors in New York. Bernard Burning, in private Ufe Mr. Shirley Mason, made his screen debut in "When Bear- cat Went Dry." Now he's under a long term contract with the C. R. Macauley Photoplays, Inc. Miss Mason is the featured player in Maurice Tourneur's forthcoming visualization of "Treasure Island." Edgar Lewis productions are to be released thru Pathe. The first will be Andrew Soutar's "Other Men's Shoes." Pauline Frederick has been visiting in New York. Also another Goldwynner, Tom Moore. F.arle \Mlliams is producing for Vitagraph in the East. He will make "The Fortune Hunter'' and two others at the Flatbush studios. Harold Lloyd is rapidly recovering from in- juries sustained, on Aug. 24, in an accidental bomb explosion. Jay Dwiggins, long a Famous Players-Lasky character actor, died on Sept. 8 in Hollywood. Kay Laurel heads her own film company, with J. M. Shear as executive head of the organization. Jack O'Brien will direct. Syd Chaplin has returned from Europe. Marshall Nielan has purchased Booth Tark- ington's Penrod stories and will present Wesley Barry as the boy hero of the tales. David Griffith is now producing in the East. He arrived with his staff early in October and has recently been in Florida. E-ugene O'Brien has recovered from a severe illness and is busily engaged on "The Broken Melody." The Carter de Havens have been signed by the Famous Players-Lasky, going over to that organization, in November. DEATH OF BILLY PARSONS. "Smiling Billy" Parsons died at his home, in Los Angeles, on September 28. Mr. Parsons was founder and president of the National Film Corporation, the maker and star of his own comedies and long an active figure in the film world. Before invading the- screen, Mr. Parsons was highly successful in the life insurance business. It was after fourteen years of suc- cess in that field that Mr. Parsons turned to pictures. His first picture, "Tarzan of the Apes," was a big money maker, definitely deciding him to take up the screen in earnest. Mr. Parsons was 41 years old. He was recently married to Billie Rhodes. (Seventy) ^ If your eyebrows and eyelashes are short, thin and ime\>en you can aid nature in a marvelous way in nourishing and promoting their natural growth by simply applying a little nightly. This pure delicately scented cream is guaranteed absolutely harmless. 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Once vou have learned it. von can make it a splendid profession and give your whole time to it. or you can work at it in spare moments in your own home. Clothes are lovely in line, exquisite in co or and costly in fabric. When you create them, you work only with beau- tiful things and you contribute to one of the recognized arts today. You Want to Improve Your Appearance— You want to be the best-dressed woman in your set— to be an au- thority on the art of dress. You want clothes that express your temperament— that suit your personality, You know what you want, but often you can't make your dressmaker, your milliner, or your tailor understand. Then learn the tech- nique of costume designing, and you can make a sketch that will show them exactly what you have in mind. Your clothes need never be a mistake — you can always have what you want. Yoa Want a Satisfactory Income- Then costume designing will give it to you. There really is no other pro- fession in which, given only a fair amount of talent, you can arrive at the top in so short a time. One graduate of the Brown Studios is receiving over $10,000 a year as a designer in a Fifth Avenue establishment. Another is designing for the pageants and balls of a prominent New York hotel. Another creates for big moving-pictnre productions. Still another designs costumes for vaudeville acts and another for moving-picture actresses, and all are receiving salaries far in excess of anything that they could achieve in so short a time in any other field. TKa Rrnti/n T^tircp consists of lessons which may be taken under ine orowa VVUrse ^^^^ personal directions of Mr. Brown in his Fifth Avenue or San Francisco Studios. For those who arc unable to at- tend either studio there is a complete course that may be taken by mail which is usually completed in three or four months, depending, of course, upon the ability of the student. R Clenvervi 5rovv^i\ Costume and Milltnoiy Desi^ chLuxQ iK TJhe course in costume designing covers every field of dress: — sketching cos- tumes; creating distinctive suits and wraps, daytime frocks and evening gowns; the making of patterns; modeling and draping materials; dress- ^"y making; and the originating and making of smart millinery. t,°,* - o- ^\* cure an entire floor at 620 Fifth Avenue, where he has opened j,*-^* ..i. 4^ °V* r5?^J«' ;,oV ■■■■ The increasing demand for designers from the Brown Studios has made it necessary for Mr. Brown to move' into a new and enlarged establishment in New York. He has been so fortunate as to se- the most unique and complete studio in this country for the teaching of costume and millinery design. Send today for free booklet. Brown's Salon Studios 620 FIFTH AVE., N. Y. C. Alio ScoUiih Rite Auditorium. San Franri«<ro <°''^k^ „c*>' 'to'V" .<i."- ^N'-'"*'" ^"•^ ^o-*- ^^ Marie: The Mystic (Continued from page 49) and ordinary expenses and the salaries arc so small. I had hardly known when I went into pictures that there was so much salary in the whole world. It made me dizzy and I hoped and prayed it would continue. They signed me up when the two weeks were over and I gladly turned my back on musical comedy, one-night stands and general discomforts. "I finished the last five episodes of 'Patria' with Irene Castle. I wasn't in any of the swimming or diving pic- tures. That was out of the question then, because I hadn't learned to swim. My real advertising came with Mrs. Castle because the film was so much discussed before it was suppressed. I consider that my real chance. I did 'Liberty' also." "When did you take' up swimming?" "We went to Hawaii to shoot some scenes and there I met the Duke Ka- hanamoku — the famous swimmer of Honolulu, who personally instructecj me. When I left, he gave me a beauti- ful ukulele which he had made himself — one of my treasured mementoes of a ha]ipy holiday." "Miss Walcamp, did you ever call the Duke by his WHOLE name?" I had been watching her spell it to me— spellbound, as it were. "Why, of course I did. Just like this " What I heard sounded like a muffled alarm clock trying to tell the hour. Marie has a deep con- tralto voice, gaified by much shouting over the hills of the U's big "Back Ranch." She had a shrill soprano at one time, but while the contralto some- times breaks "on her," Marie consid- ers that it is generally reliable for classification in the "female baritone" class. She seldom sings now — the seri- ous business of acting has taken up all her powers of concentration. "Isn't it queer how many players arc doing serials just now and making good?'' said Miss Walcamp, suddenly taking charge of the interview. "I believe the serial is the savior of the motion picture business. An exhibitor as well as the producer has something to fall back on — it's a sure bet. The serials are making money everywhere. Anne Luther and Herb Rawlinson are doing splendid stories and there are many others who are beginning to see the advantage of holding public atten- tion. Of course, it's always the same old thing, I get chased, abused, nearly killed, rescued in the nick of time, loved, hated — and finally there's a happy forever after! The stories are much alike in that respect, but the pleasure to the actress is in the many new locations — just think, next I'm going to Japan to work on a serial — the ingenious devices used and the unex- pected situations which are quite as entertaining to her as to any audience. I can hardly imagine myself out of {Continued on page 85) (Seventy-two ) CLASSIC The Hidden Egyptian (Continued from ftagc 47) in the service of lier country, too. She drove an amhulance in New Ycjrk, meeting the ships as they came in and carrying woumled to various debarkation hospitals. And, slie will tell you, there was nothing in the least depressing about it. The most tragic things someliow be- ■ came beautiful. "That wa.s when we were all excited, of course. When there was no call for the ambulance, I used to go to the hos- pitals and talk with the boys there. I dont think that they realized what it would mean to be crippled for life. There was one little Irishman, for instance, who had lost both his legs. He never grum- bled about that, but he used to make a fuss about the most ridiculously little things — things you would wonder he would even think of in the face of his big tragedy. Yes, he was a giant in big things, this Irishman, but he was a baby in small ones. He used to hate the hoy in the cot next to him. This boy had twenty-seven wounds all from shrapnel and had won the Croix de Guerre and he always insisted on havii.g his coat hanging on the back of a chair near his bed so that everyone could see the Croix. He was kiddish, too, this boy and I sup- pose that that is what got on the nerves of the Irishman — " she smiled remin- iscently, a smile that grew into a laugh and then she explained. It seemed that the Irishman had a habit of talking about battles he had never been in at all, tho he never said a word about the one in which he had lost his legs. "And now it is all over and we must all begin living in prose again. I hope I get some really big and cheerful stories, You dont know how ditificult it is ! Near- ly every scenario we get has the same old 'wronged woman' in it somewhere." The first thing you notice about Edith Storey is Iier deep humanity. She has a gift for fitting into any scene, or be- coming one of any group of people in any walk of life, that is far beyond or- dinary adaptability. It is as tho she had, herself, belonged to every nation- ahty and lived thru every possible ex- perience in the world. Edith Storey, a New Yorker by birth, went on the stage when she was eight years old. She appeared in "Audrey" with Eleanor Robson, in "The Little Princess" and in "Mrs. Wiggs of the Cabbage Patch." She joined the Vita- graph Film Company when she was about thirteen. "That was at the time when J. Stuart Blackfon u.sed to direct and Albert Smith, the present head of the company, cranked the camera. When the men finished act- ing they used to don overalls and build the set they were to work in next day. I remember that Maurice Costello was the first actor we had who refused to wield a hammer. He insisted that he was an actor, not a carpenter, and soon the 'Seventy-three) others followed suit and the profession gained new dignity." In addition to doing child roles and "pages" she was the official "stunt" ac- tress. She could swim, ride, fall or climb to any director's satisfaction and so she was frecjuently called on to do all of them — ("Once, when I was about four- teen years old," she said, "they needed an old lady to fall off a bridge. With the aid of a grey wig, I was the old lady!") She is quite as athletic now as she was when a little girl and, incidentally, she hates to cook, cant cook, and wont cook. She likes to live rather on the edge of things. Her Long Island home is some miles from anywhere, and when I saw her recently in Los Angeles she had just rented a bungalow within a block or two of the city limits — some miles from any- where, too. It is a pretty place, how- ever, with big high ceilinged rooms, plenty of windows and a low, broad ce- ment porch. I found her cutting dead leaves from a fern. Sooner, her favorite dog, was there too ; a cuddly white ball curled up on the porch sound asleep. Sooner had just given her quite a fright, she told me. It seems that she had left the hotel and rented a hou.se especially for Sooner and then, on the first day they moved in — (her mother and brother are both with hfcr now) — Sooner disappeared. "I was afraid he had gotten lost and would never find his way back," she said. "I went all over the neighborliood calling him." Instead of a whistle, her call for Sooner is a short, shrill rolling note blown thru her puffed lips— ("Hl-bl-bl Bl- bl-bl") — "I walked blocks bl-bl-bl-ing at every step, but still, no Sooner. I suppose the neighbors think that I'm crazy — " He showed up all right but not until evening and he had another dog with him. It seetns that the first thing Sooner does in a new neighborhood is to make friends. You see, then, that Edith Storey's home atmosphere is simple and whole- some ; no "dust of Egypt" about it any- where but just a little touch of the exotic in her own personality to lend additional charm and mystery. The Answer Man I^uviE. — Of course th.Tt's my picture at tile top. Yoii ask if I liavc the five wits — common wit, imafiination, fantasy, estimation and memory. I have the latter, for I remem- ber yon. Clara Young is out West. Bn.i.iE n. — The more, the merrier! Yes, write to him. That's right, art is long, why not hair? Thomas Chatlerton is on the stage in San Francisco. Bi.viEY UY Herself. — Dont think it was Betty Ulvthe; pel haps Ruby de Remer. F, I.. H.— No. Richard Barthelmess did not play in "Experience" nor "The Man Who Came Back. ' Berenice. — An interview with "' "lllam Des- mond? Yes, in J.anuary, 1919. 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MUk. f a.«a;o <,fr. tt'^^ it", iti rt MaJifon m. CftBadian Renolife Electric Co., Ltd. ISI] NmiIbi BMf , Wisdur. Out. Lowett Priced Moit Effective Violet Ray For Home Use Lin R«sr«Miitall*«i writt far lain srMMltiaH We did. talked about women — or he We also talked about mar- riage. He said he believed in, longed for it. He thinks there is one love, one love only and many counterfeits. He thinks we believe in the counterfeits because we so greatly want to, need to. He talked with something of a sympathetic sadness of a certain type of girl of today— girls who tlegrade their youth by painting their faces and smoking cigarets and sitting in the vitiated air of cabarets. It is a mistake, he says, to believe that men, worth-while men, want that. "You women want good men, dont you?" he asked; "good men? Well, we men want good ^voineii. Wholesome women. Strong, sanely balanced women. Women who are, primarily, good com- rades." He told me of his home in California and the sweep of land and sea and sky it had and the free, out-of-door life he led there. He told me, too, in relevance to our talk of women and men, that no woman was permitted to smoke in his home nor to touch wine. "They may do it where they will," he said, "I dont doubt but what some of them did, but I dont want- to have to see it, and I have a right to preserve my ideals in my own home, haven't I ?" I asked him if he thought many people had ideals, consciously. He said he thought they did. He has never, he says, lost his simple first faith in human na- ture. Never swerved in his empedestal- ling of women. Never relinquished the belief that the great and good life, the secret of lasting happiness, the alchemy of deep content is the simple life, the quiet life in the country with little of the fever of ambition, with books and a few friends and the woman one loves. "Love is the greatest thing in life, of course," he said. "I couldn't stand New York," he went on — "the elevated over my head ; the sub- ways underneath ine ; the look on the faces of most of the people I see; the strain and push and sweat and grind. I'm going back to California where, if any- where, people really live "I was born and brought up in New York City, but that doesn't make me love it. I was born and brought up in a theatrical family. That doesn't make me love the theatrical, either. "I have come thru to a lot of beliefs I didn't have, of course, say ten years ago. I have not always had this phil- osophy or this way of looking at things. I'm a Christian Scientist and that has solved a lot for me, given me light. And then, too, I have gone down and lived in the very depth of things, not because I was ever so unfortunate as to have to, but because I wanted to, for the experi- ence. I wanted to test out the theory that environment will make or break a MOTION PICTURE CLASSIC The Riddle Man {Continued from page 59) man. 7/ will not. It is the man every time. A man can keep intact his im- mortal soul as well in a dive as in a man- sion. No person or no place or no cir- cumstance has power over him. His is the power. His alone. Man cannot blame his state on circumstance, since he moulds circumstance — or could." We talked a while of books. Bill Rus- sell likes to read biographies and auto- biographies— because they're real We talked of hobbies and the pursuit of pleasure — and he has his pipe — not cigarets ; and he likes to take his car and ride about the Westchester hills — when he is in the East — and feel the freedom of the winds he loves sweep past him as he goes. He likes to dream as men dreamed long ago when the world was new — and he has built about him a shield of idealism that these dreams be not destroyed. A Man-Person. A flash-back to Adam, the first man, when he walked in the cool of the first morning. Barthelmess: The Boy {Continued from page 17) It is his mother love. Now mother love, I am afraid, is a thing that may become destructive, foolish, a figurative ball-and- chain. Not with Barthelmess and his mother. Between them there is compan- ionship, pal-dom, love. Before our interview his mother had been ill, confined in a Long Island sani- tarium for weeks. Barthelmess spent every week-end with her. "Mother does not want it," he told me when I heard him turn down an in- vitation to a house party, "but I know her heart — and I am not going to disap- point her." Her recovery was slow but finally she has been able to join her son in New York. Once again Barthelmess has the companionship he longs for, and when time permits — (the Griffith players fre- quently work far into the night) — he does the theaters with his mother "The two pals," they call them. And well they may. Py ANNETTE La Touche Hancock Your eyes were blue. When first we met; I thought you true, Annette! Annette! But with your eyes A snare you set ; They were hut lies — You were a — net I For candy yet I owe a debt; Oh I how you 'et, An"et, an"ct! (Seventy-fourJ A Perfect Voice Is Priceless! Yours can be made perfect — ^The Feuchtinger Method of Voice Culture will do it THINK what your voice means to you — what a priceless possession is a PERFECT voice! For singing, public speaking, for con versation— the trained, fully cultivated voice gives any man or woman an im- mense advantage over those who neglect to improve Nature's best gift. Any Voice Can Be Developed The Feuchtinger Method of Voice Culture will de- velop the most ordinary voice into a thing of beauty— a power to arouse admiration and compel success. This method is an absolute science of voice culture. It develops Nature's own sound organ by proved prin- ciples. It is the science of tone-procluction, tone- strength, clearness and harmony. Your voice can be trained by it to great power and beauty. Immediate Results The FEUCHTINGER METHOD is a PROVED SUCCESS-it has demonstrated unfailing results in countless cases. Your voice will receive almost immediate benefits, and your Ffogress to perfection should be swift and sure. Mr. Feuchtinger has received letters from men and women in all walks of life, telling what the Power of the Voice has been to them after studying this unfailing method. Those friendless before taking this course now find themselves popular wherever they gn. Our students testify that a fine singing and speaking voice is responsible for unexpected social and business opportunities. No Stuttering— No Stammering No Lisping The Feuchtinger Method banishes ALL impediments of speech- gives perfect command of muscles and vocal cords. Harshness, hoarseness, huskiness will quickly disappear. No more stuttering, stammering or lisping! All these business and social handicaps are quickly and permanently removed by the Feuchtinger Method of Voice Culture. A Few Minutes Silent Daily Practice in Your Own Home Amazing results will be achievedby a few minutes' daily study ol the Feuchtinger Method in the privacy of your own home. You need not know mMsic— the practice is silent— noboiy will even know you are studying this method. As you progress in this intensely interesting method, you experi- ence the joy of increasing power that springs from self-confidence and the conscious development of vital personality. PERFECT VOICE INSTITUTE 1772 Wilson Avenue, Studio lasi Chicago, Illtnols Correct Breathing Means Health— Beauty This course teaches the exact scientific manner which alone can explain and direct the correct way of inhaling and exhaling breath. Correct breathing is the root of health and perfect physical development. Send No Money Investigate this wonderful offer! Get all the facts free — then decide for yourself. Send no money — just mail coupon, or write for it. Feuchtinger's NEW FREE BOOK ON VOICE (illustrated) that tells what this wonderfuJ method of voice culture is — what it does— how it adds to your power and popularity— will be sent FREE and POSTPAID. Scientific vocal training that in the past cost hundreds — often thousands of dollars— is yours for small invest- ment--easy payments. Phenomenal results— no matter what your voice. Get all the facts— FREE. Perfect Voiea Inilitut* Studio 15S1-1772 Wilton ATonue, Chiofo Send me free book (illustrated) and facts about the Feuchtinger Method. I have put (x) opposite subject tliat interests me. I assume absolutely no obligation | whatever. SINGING D STAMMERING D SPEAKING D LISPING D ^ ^hoc 01 voice culture Age- Name Address (Seventy-five) k.. wmimmimiea "A DREA/n or Fairwoaen" is the name of the picture play produced by the MOTION PlC TVRE Magazine. Classic and SHADOWLAND. soon to be released. It v/as made with the twenty-five Honor Roll girls who were entered in the great EAA\E AND EOR- TUNE CONTEST Here you will see Beauties from every section of the United States and a beautiful little play in which' they all appear. Watch for it ! Wa t for it ! Ask for it at your Theater i /HOTION PICTURE PUBLlSniNG COA\PANY 1 75 Dulfield Street. Brooklyn. New York 1= jMissMiBJSiJSim^mm^MMmmmmmmmmm MOTION PICTURE On Vamps and Ingenues {Continued from page 28) "What men are worth vamping?" she askecl, with the seriousness one should give to sucli a weighty question. "The men whose brains have raised them above tlie mass of their fellows. Now when the generally accepted type of vamp knocks at the door of these same brains, the man is ]mt on his guard at once. He looks at the curve of the lips, the slant of the eyes, the cut of the black gown artd knows liiat the lady has but one purpose in view, to vamp him. If he is wise — or even if he but thinks he is wise — he turns from her at once. Then comes the sweet, child- like, wonder-eyed girl, the girl vi^ho looks as if she were born to pick daisies, to chase butterflies, to coo sweet lullabies at twilight, and, lo, you find him hanging a diamond — or a limousine — on each curly eyelash. That vamp is the real actress. Behind the baby stare may be a mind plotting to overthrow a throne: the girl- ish giggle may be more deadly than a si- ren's song, but the man never guesses it and therein lies the great secret of suc- cess. "And the .screen vamp has set the ex- ample for the vamp in real life. Have you ever noticed young girls who are blessed — or is it cursed? — with the innate desire to lure fashioning their dress, their ac- tions on the model of some famous screen vamp? The latter's method of luring must be the correct one or why has it succeeded with so many men thru so many reels of so many features?* They dont seem to realize that vamping tal- ents come from within, that a girl cant don the generally accepted gown and ac- cessories of a vamp and be lYiiraculously endowed with the capacity to vamp. She must first have the feeling^-and, I may add, the brains — for it, and then the prop- er setting will come as a matter of course. "And the ingenue ! As soon as one star, by her personality, won the heart of the screen public, her type became the accept- ed one for the ingenue. If a girl in any way resembling her crossed the path of a picture director she was at once hailed as a "find." while hundreds of others just as truly typical of the young Ameri- can girl knocked vainly at the screen door. I like ingenuesi I enjoy playing them much more than I do vamps, but the one that appeals to me is the girl who requires characterization, not the one who is sim- ply "sweet," and is content to let it go at that." Dorothy Green is sure that to be per- fectly normal one must be a "nut" on some subject and she is a nut on sanita- tion. She took me thru her doll-house apartment, just a stone's throw from the theatrical district, but far enough away to forget if need be the noise, the bustle, the White Lights, and exhibited its spotless- ness ; that, too, upon the eve of forsaking it for a new home further uptown. ^lost of the star's friends are girls in other professions. "I am just as interested in their lines of fSi;vcntii-six> CLASSIC work as lliey are in mine," she said. "It keeps me from Ijccoming narrow, from viewing life from the sole point of view of a moving picture actress," At that very instant the V'lo'ie rang. It was one of Dorothy's business chums with her own particular problem to solve, and Dorothy gave her advice just as wise- ly as if she had been sitting behind an ofifice desk for years. "Dont ever bob your hair," she warned me as she stopped for a moment with the comb suspended above the fluffy mass, "If you have two inches, nurse them care- fully and pray fervently that at each har- vest time, another tjuartcr of an inch will be added." "How did you ever have the courage to do it?" I inquired, recalling the heavy dark braids coiled at each side of the head that were part of the Dorothy drcen I had known. "Why, it's just like falling in love," she answered thoughtfidly. "One doesn't need courage; just an idle moment. One does it and then spends hours wondering why." "And regretting?" "Sotnetimes." Dorolliy admits two hobbies beside sanitation : jazz music and sheer hosiery. To her mind the success of the Pied Piper is easily explained. He was a jazz artist and she is sure that, had the Garden of Eden been hung with sheer hosiery in- stead of prosaic ajiples. Eve, not Adam, would have had the tag line of the play. Of course, the' liioon for which the baby Dorothy cried was a stage career. Her childish dreams were woven about great actresses whose glories would some day descend upon her young shoulders. Then came tliat operation on her throat that marked on tlie stage door, "No Ad- mittance." But fortunately for Dorothy and the public, pictures were beginning to come into tlieir own. It was in Mr. Lasky's "The Country Boy" — playing the chorus girl — that she laid the foundation of her career as a vamp. She continued to "vamp" for Will- iam Fo.x, the World Film, and then she decided to turn over a new leaf and be an ingenue, not any kind of ingenue, but one permitting characterization. .\iu\ what if there had been no silent ilrama? Then Dorothy would have in- vented some method of giving expression to her dramatic talent. For she has origi- nality— the originality that laughingly dis- cards the ladder with the broken rungs and makes for itself a new one. The Answer Man Bi-tiKiiiKii. — So glad to hear from you. Haven't lier age. You think Douglas Mc- Lean resenililes Marjorie Daw. Cant see it. He's an actor. You want a list of all the players' liirthdays? Now, cant you think of something more I can do for you? H. M. D. D.— But the present is never a happy slate to any human befng. Leo Delaney is 34 years old. Ves, I have a hard time man- agiTig with the high cost of sodas. IsAiiF.i. C. — Glad to hear from you. Remem- ber, what is said for effect will soon have no effect. Owen Moore is not dead. Marie Doro is in,, Europe. Pearl White continues to act in seVials. Come again, 1 implore you. (Seventi^-ffvcn} Pretty May Allison, Metro star, it one of the ivnst popular screen ac- tresses today. Miss Allison is a yrcat Star litectric Massage Vibra- tor euthusiast and rec- ommends it to all her friends and followers. 9 '. '<Jf„ IdcalyXnasGftf Bsays ^J)iCay Jillison ■*■ trie Massage Vibrator on Improve your Salc ill HlOSt drUg, department p„, headache romplcrion. Have J i • i i t nervousness fa'- yovr own beauty and eleCtriCal-gOOdS stores. In ague, insomnia, f"!"'- . " , , , mdigestion. case you are unable to get the "Star" in your city, send Five Dollars, your local dealer's name and address to us and we will send one complete outfit direct to you, postpaid. Fitzgerald Mfg, Co., Dept. 2 1 6, Torrington, Conn. The woman of fastidious tastes, young or old, realizes that beauty is but a natural reflection of health. Wrinkles, "crow's feet," eyes that have lost their youthful siiarkle, obesity and other unwelcome facia! blemishes are, to a great extent at least, brought on by what we term "the .strenuous life." Muscles are sure to become weary and congested unless they get relaxa- tion. And complexions are certain to suffer unless properly taken care of. Home electric massage is recognized as the building-up process nearest to Nature's. Electric massage is the active man's best friend. It takes the kinks out of sore muscles, stiff joints, sprains; it relieves headache, nervousness, fa- tigue; it is ideal for after-shaving facial massage and a boon to men whose hair is falling out. So the "Star" really is the ideal $5.00 Christ- mas gift. Especially so when you stop to realize that other vibratqrs cost from eighteen dollars up' to fifty. Get a "Star." Put it first on your shopping list for Christmas purchases. Complete outfit only $5.00. Includes three applicators, six feet of cord and illustrated booklet explaining all uses. The Star "Universal," a more powerful vibrator, costs $6.00. Fits any electric light socket. Preferred by many. Make your choice to-day. Fitzgerald Mfg, Co., Dept. 216, Torrington, Conn. .\len! Try this: .-iftcr you've finished slia^itiy, take a little cold cream, rub it over your face — then massage yourself with the "c..,- ' for two "Star'' utes. It's great! three ,'^STAR Treat your hair and icalp at home. Save that beauty- tarlor money. A "Star" costs only $5.00. but lasts for years. Get one to-day and let your husband use it. CTbr Zlste in ')to-ur Chvn CHorru: ^lectnc J[fassa^e VIBRATOR '/Mi it„,J4k£jAi Portraits of Your Favorites TWENTY-FOUR LEADING PLAYERS = Wlial is ;> home williout |>ictiircs, cs|)Ocially of tliosc one likos or ;i(lmiics? How ihty briRliten up bare walls ami Iciiil a touch of liumau sympathy, alike to the homes of the rich anil poor! Anil what could better serve the purpose of decoration for the lioincs of motion picture enthusiasts than portraits of the preat film stars, who have become world- wide famous? The pidilishers of the two ieadinR motion picture monthlies, the Motion Picti'Kk Maiiazink and .\foTiox I'lrri hk Classic, have accordingly prepared at great expense, especially for their subscribers, an nnnsnally fine set of portraits of t\\"enty-four of the leading players. These portraits are 5'/'/' x 8" in size, just right for framing, printed in rich brown tones by rotogravure, a process especially adapted to portrait reproductions, and are irtistic, accurate and high-grade in every way. You will like these portraits, you will enjoy pickmg out your favorites. You will delight in framing thctn to be hung where you and your friends may sec them often. Mary Pickford Mir|ucrite Clark Douglaa Fairbanka Charlie Chaplin William S. Hart Wallace Rcid Pearl White Anita Stewart UST OF SUBJECTS Theda Bara Francis X. Buahman Earle Williams William Farnum Charles Ray Norma Talmadge Constance Talmadge Mary Miles Minter Clara Kimball Young Alice Joyce Vivian Martin Pauline Frederick Billie Burke Madge Kennedy Elsie Ferguson Tom Moore Tlicse portraits are not for sale. They can be secured only by subscribing to the Motion- rimnr. M.vgazink or Motion Picturf. Classic for one year, and then they will be sent free. You will want either the Macazi.nk or Classic, or both, during the coming year. Subscribe now and get a set of these portraits. It will cost you less than to buy tlieni by the month at your dealer's. Send in your order to-day and we will inail the portraits at once. ........................... COUPON -..--.-......---.----..---- M. p. PUBLISHING CO. Date 175 Duffield Street. Brooklyn. N. Y. (icntlrmrii : Kin.lly enter my sul.scription to the j,'otIoN Im'cTi'rK cl^ASSlc'''' '°' °"' '"'• Alto pteasr acini me at once a set o[ the twenty-four playcra* poitraits. Enclosed find $ in payment. Sfll.sCRll'TlO.V PUKKS: U. S Canada Foreign Name . . Magasine . t2 00 12.40 13.00 CUsaic 2 00 2 40 3 00 Both 3 SO 4 10 S SO Address Own Your Own Stocks in a Year BEGIN TO-DAY I I I L Invest wisely. Obuio Orowing Income. Buy H B only high-grade slocks paying subsuntial divi- g J denils. First payment iO% of purchase price. J m Balance In equal monthly payments during year, g ^ n'rile to-ilayfor BooHifMC" g B Francis & Co. Invtlment 5«cun'(i*a Cor. Broadway and Wall St., New York City MOTION PICTURE The Youngest of the House o' Hcimmerstein {Conl'mucd from page 19) back word, 'You're ruining my show!' "I had to remain with 'High Jinks,' be- cause that is the only way I knew I could .satisfy dad — to get it over with." That was all musical ciimedy had of Miss Hammerstein. In the few years that have followed, the cinema has fared far luckier. And yet, managers are still clamoring fur her in their stellar roles. That is why she calls the Selznicks the best friends she has in the world. "Myron is my boss, you know, and he refuses to let me play any theatrical engagements while he's starring me on the screen." She laughs over the titles of her produc- tions. "The Argyle Case," "The Madcap Lover," ".'\n Accidental Honeymoon." A few months ago she was billed all over the country as "Elaine Hammerstein — 'Wanted for Murder'," and this, her first Selznick jncture — "I'^laine Hammerstein ill 'The Country Cousin.' " Her second stellar piece is called "Love," and her mother, who had just entered the room, said she hoped it wouldn't be advertised as "l'",laiiie Hammerstein in Love." A Fillum Fatality liy Waltkr E. Ma IK "C), why should the spirit of mortal be ])roud?" .■^ub-titled the star as he mourned 'neath a willow. Hut straightway on payday he bought him a loud And lu.xtirious necktie as large as a pillow. lie bought him five shirts of the cost- liest weave, He benight a blue diamond to add to his splendor, Then, nicely, iirecisely, from out of his sleeve He drew forth a roll for ye touring- car vendor. He bought him a jihoney Los .Angeles farm. And stocked it with high-balls and white leghorn chickens; The latter, I flatter him, did him no harm. Being not of the species that raiseth the dickens. He bought and he bought; did this film Galahad sad, ■Who so nobly declaimed, with such sotilfulness utter, '■ Till i)l;iy-<lay, not iiay-day, was all that he had ; His credit — his job— took a spin to the gutter. "O, why should the spirit of mortal be proud?" l^lc has married an extra-girl — Garlic- tooth Rhoda. 'Tho he walks and he talks with his bead in a cloud. He is back at his old twenty-per, jerking soda. fUeveniyeight) CLASSIC The Owner of the "Uncas" (Continued from page 21) family of three and his brother and sister — non-professional, both of them — have never taken the shghtest interest in the sport that interests him so greatly. He has a broad and characteristic philoso- phy; a behef that everything moves in cycles and that individuals, like events, return again and again, each time on a higher plane, until they reach perfection. He does not like detail. Perhaps the most noticeably characteristic thing about him is his love of dashing thru things ; his impatience of any restraint. He looks to be about twenty-seven years old. His stage and screen career is so young and so much has been said about it re- cently, that it does not need recounting here ; enough that it, too, has moved quick- ly. He began in amateur theatricals in Indiana. From that to professional work was just a step, and two years after he went on the stage he landed on Broad- way, New York. He has been on the screen for two years, his first moving pic- ture work being with World. Five o'clock came — "at last !" He drove me back to Los Angeles. His mo- tor car is painted green. On the way, we talked of the Uncas, moving pictures, real estate, money and the Uncas again. "I wish I could be with the Wilson boys when they make that trip," he said. "Doc Wilson told me that they'll be sixty days on the way, stopping, of course, at all the interesting ports." He cut a cor- ner sharply. "Do you know," he went on, "I'd like to have money enough to be absolutely free. Not rich, you understand, there is no freedom in that — ^but, say, an independent income of a hundred dol- lars a day. If I had such an income, I dont believe I'd work any more" — re- member this was said at the close of a busy .\ugust day — "or, if I did work, I'd like to do something else. I think I'd like to be a recognized writer. Those chaps can go anywhere, any time they want to. I knew one, a writer of advertisements, who had his yacht next to mine in the Hudson. He was always going off .some- where because that was his whim and there was nothing to stop him." By which you may see that the owner of the Uncas was homesick for a long cruise and, anyhow, it is characteristic of August that no matter where one is he sits down and wi.shes himself elsewhere. THE SILENT DRAMA By Clarence E. Flynn Out of the silence often comes » A voice that breaks the stillness deep, And with an eloquence unheard Calls hidden mem'ries from their sleep. It carries power unknown to speech ; It speaks directly to the heart, Grown thoughtful in the silences. Such is the screen's appealing art. It calls the strong to lost resolve. It thrills the weak to better things. It touches sleeping hopes to life And in the songless heart it sings. It opens scenes of loveliness For eyes long used to barren spot. This sacred silence that is heard Where thought is all and voice is not. (Seventy-nine) ISfeuTlfedr "IfourGomplexi ion i "/.('If took i(/> the glass of time and turned it in his gloxfing ha»ds."~~ Tennyson. Among the resolutions whicli you make on tlie passing of tlie Old Year and the coming of the New, let there be one to give your complexion the caressing, gentle care that will turn back the hands of Time. You will retain the youthful loveliness, the dainty clearness and refreshing softness of skin tliat's so charming and lov- able, if you use DAGGETT^RANSDELLS PERFECT COLD CREAM Its application daily and before retiring will enhance your beauty for social gaieties and protect it from the blustering weather that chaps and irritates. D & R Perfect Cold Cream has held the place of honor in the boudoirs of famous beauties of three generations, while its quick, yet perfect, cleansing and soothing qualities have made it a necessity of general use in home and nursery and sick room. In tubes and jars, 10c to $1.50. Poudre Amourette — The face powder that de- lights. Looks natural and stays on. Flesh, white, brunette, 50c, of your dealer or by mail of us. Daggett & Runsdcll bt^i. 1404 D & R BMf .. N«w T«rk Try B« t h CrMin » n d PowdH- FREE t>e« trial Hanipltn r> f I'erfwt Cold Crvani and Poudre Amour- etle will hv sent you fni re- riueNt. ONE MILLION DOLLARS A YEAR is being made by several persons in the Motion Picture Industry. ONE HUNDRED DOLLARS A WEEK is being made by thousands of perso Hundreds of Thousands of People are asking every day such questions as these: How can I get into thp MMlon Picture businessT fan I Iwconie a ptiotoplayert HBve I auffifli-nt talent! Have I the iic««attry personality? How can I U-rome a Motion IMouiro Director T C'a4i 1 iR'Cume nnaiiclaJly Interwted In Motion n-lurosf Can I wrltf for M(*»lt>n Ptrtureaf H»Te I a '■Mf»tton I'lrture fat-e"? Can I tJaln myself for any branch n# UiB bualiieesT If I havp Mio talent and ability to bocomo a picture mar, how con I RCt a siartT These are questions that have long remained un- answered. But they can be answered. There have been schools that pretend to teach Motion Picture acting, but they are generally frowned upon by the profession. Personality, charm, winsomeness and beauty are God-given gifts. They can be cultivated and improved, but not created. Acting is a natural talent, Some have it, others acquire jt, but most people who haven't it never will learn "it. Grace is natural to some, but most people can acquire it. There is no rule abo'-t beauty, grace, charm, etc.. and some may win without any one of the sup- posedly necessary requirements. If you want to try to win a place in the great Motion Picture Industry, send five cents in stamps for this booklet, "Who Can and Who Cannot Get Into the Pictures and Why?" Address it to The National Motion Picture Institute 173-175-177 Duffield St., Brooklyn, N. Y. ns in the Motion Picture hulustry. Here are h few very successful stars: Chaplin Pickford Fairbanks Hart Arbuckle Nazimova Keenan Drew How different they are! Not one of them it noted for grace or form, and hardly one for beauty, and dozens of others might be added to this list. And in the various other branches of the Motion Picture business startling deductions can be made. The Motion Picture Institute was organized to analyze the conditionu of the Motion Picture In- dustry, to inform the public of these conditions, and to show how and why some people can get in and why others cannot. A competent and experienced staff of experts have been secured to carry on this much needed work. 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His very reluctance was my goad. His reti- cence hid revelation. "Well," he saitl, cleverly, with a twin- kle in his eye : "well— let us have/xrfiV'irc, then. That is, surely, the indispensable requisite." .\nd he was not to be tempted farther. When it came to his early days he was more fluent, tho, always, the "1" was toned down, passed over, dismissed. He was born in Belgium, but is ".\merican now," he says, and he has the lingering of his native land in his speech. He was to be a musician, his father being one before him and when, later, he gave up music for the stage, Jost- pere almost dis- owned him, considering the step, no doubt, a distinct drop in caste. He told, too, with reminiscent amuse- ment tinged with the young tragedy it must have been to him, of playing with Sarali Bernhardt on an opening night in Paris — or. more accurately, in Sarah Bernhardt's company. He had a small part, he said, only si.x or eight lines, but the character, that of a young king, is very much discussed by the other players before his entrance. His arrival is her- alded with pomp and fanfare. "I stepped upon the stage." he narrated, "in full panoply of sword and satin, tripped upon the sword and measured my length upon the floor of the stage. .\ moment and the house burst into ruinous gales of laughter. The opening was a farce. It was horrible at the time. You can imagine the distraught state of my mind as I went to Bernhardt's dressing-room and tendered my most abjectapologies.promisingtoiact better the next time. '.\ct !' said Bern- hardt, justly enraged, 'young man, you will never act !' It was terrible — terrible" — sighed Jose, shuddering again over the span of years. He toured the provinces, then, he said, for some years, with his wife, playing in .\frica, the Far East, etc., and finally, be- lieving that there was little chance of big money for the general actor, went into the managerial end of it. He came to .America for si.x weeks' stay, I think he said, and things went so successfully that — why, that he is still here and has been for more years than the number of weeks he planned. He fought his way upward, starting with vaudeville. Always he clung to his artistic ideals — thru thick and thin. Pictures, he said, always appealed to him. Chiefly from the directing end. .\t first, however, he played in pictures for Pathe, also with Theda Bara in her first picture, ".\ Fool There Was," and he, in- cidentally, introduced her to the screen, engaging her for the part from the rank and file of many applicants. He said, with another canny wink in my direction, that it was a very good thing for a di- rector to have been an actor first — thru the mill, in other words — tho not necessarily essential, he added. MOTION PICTURE The Director Diplomatic {Continued from pacje 36) It canie out bit by bit, waived by him at my slightest appreciative sign, but em- phasized by his wife, that he not only reads every book that comes out, writes his own scripts, casts them, directs them but follows the raw stock of the film straight thru to completion, "I wish you 'n'ould emphasize that," said Mrs. Jose, who is ideally the comrade-wife ; "I bcheve that it is quite exceptional." We touched upon the controversial que.stion of the Screen as Art or Com- merciali.sm. Mr. Jose seemed to be momentarily amazed that there could be any contro- versy on the subject. "An Art, absolutely," he said; "those people who take the other side of the question do not take into consideration the tremendous work, the detail, the time and the often colossal expenditure in even the least picture. Only Art achieves such results, however short that Art may fall of its ultimate possibilities. All Art has some room for progression, for furth- er perfecting. High spots are not the everyday run. 'The Miracle Man' — and 'Broken Blossoms' — pinnacles V Back of Director Jose (this is s. p. — Strictly Personal) there is another direc- or. The director behind the director ! A feminine person, aged three and an- swering to the name of Helene Jose. His little girl. "She is the one soft spot with Ted," said Mrs. Jose, smiling at him over the tea-cups — the director had left his desk and was drinking his four o'clock tea and having his four o'clock cigaret, a ceremony he never omits, even at the stu- dio, where Mrs. Jose is with him and serves it for him, as at home. "Well, but how can I help it?" asked the wee Helene's Assistant Director, with a smile ; "her little talk— and all, it is so wonderful — " He got out of his big chair and took a large photograph from the book shelves to show to me. "I saw her as I came in," I said; "she is ador- able." Mr. Jose nodded. "Yes, now, isn't she?" he asked, "can you blame me? And do you know, she has no respect for her father at all. She calls me 'Ted' and when I try, at times, to be very stern and very paternal, .she laughs at me. She takes me for a humorist. Maybe I am — with her." Mr. Jose is not, strictly, a humorist, unless in a very super-sense of the word. He is the rare bein^ who\can make an adaptation of life; who can live it and at the same time, play it. He can direct because he is, himself, by himself, direct- ed. He accepts traditions and does not bruise the vigor of his years battling, in- adequately, against them. He comes from the Old World and he brings .some of the old world's riper philosophy with him. He can run a gamut, which is good. He can be the great director (he would modestly eschew this) and he can be the playmate a tiny child calls "Ted." i (Eighty) CLASSIC Victory {Continued front pac/e 43) too, lie told her what to read, directed her reading, discussed the books with her afterward. At once, the characters sprang to life, lived, breathed, had vital sorts of beings. Everything was ani- mate. Her viewpoint, too, it was de- liciously strong and tender ... he had thought himself so wise, who was not wise at all — at best, he was wise enough to learn . . . Several weeks of this slipped by and then, with the same unexpectedness Schomberg had felt, the plain Mr. Jones arrived on Samburan. He had with him Ricardo and Pedro. Heyst made them comfortable in one of the abandoned bungalows. He had no reason not to. Their discomfort at his hospitality fired the abstract alarm the plain Mr. Jones gave hini. There was something quite horrible about Mr. Jones; he was so unnecessarily pallid. Even the spice of the trade winds gave him, Heyst noticed, only the unpleasant greenness of decay. Heyst felt him to be very unhealthy. Of course, appear- ances . . . He was afraid for Alma, too, as he had come to call the white girl. These men . . . their attitudes ... a woman alone, as Alma was . . . Suddenly Heyst felt himself to be very much a man and Alma very potently a woman, needing his protection, needing him . . . The blood so long quiescent in his veins awoke and pounded. How wrong his father had been I What a false premise his nega- tion had been ! Or else, how long and how bitterly he must have starved and thirsted ! That was it, perhaps, someone had long denied him and decried him ; someone very dear to him, as Alma might be dear . . . Heyst felt, suddenly^ none of his former pride in his father, cold trib- ute, but burningly sorry for him, bit- terly compassionate, yearning . . . It became apparent almost at once, certainly to Alma, that these men were here for a purpose. Ricardo, she soon learned, included her in his purpose. She had one desperate encounter with him and sent him spinning across the room, after which his attitude was more, rather than less devotional. Still later, he be- came consuming. He would be dan- gerous. Alma knew, dangerous to Heyst. With the cunning of a woman who loves Alma knew that the safe way for Heyst was for her to dally with Ricardo, to worm their motives from him, to lead him on. For herself . . . she was acci- dental, anyhow, a fragment conjured out of some detached nothingness ; it had been easy to come; so would it be easy to go back. But Heyst . . . Heyst was dif- ferent. Heyst must go on living, a god, apart. "The love that loves for love" came to the girl's mind . . . without thought of any other thing than that love's sake . . . and it came to her, too, that it might not be unpleasant to sleep on this fruitful island lullabyed by the seas . . dust, some day, beneath his pass- (Eighlyone) Millions ojT People Can Write Stories and Photoplays and Dorit Know It/ THIS is tlie startling assertion recently made by E. B. Davison of New York, one of tlie highest paid writers in the world. Is his astonishing statement true? Can it be pos>ible there arc countless thousands of people veani- ing to write, who really ciin and simplv ha^'Cii't found it outf Well, come to think of "it, 'most anybody can tdi a story. \\'\\v can't 'most any- body urite a story? Why is writing supposed to be a rare gift that few possess? Isn't thi> only another of the Mistaken Ideas the past iias handed down to us? Yesterday nobodv dreamed man could fly. To-day he dives like "a swallow ten thousand feet above tlie earth and launhs down at the tiny mortal atoms of Iiis fellow- men below ! So Yesterdav's "impossibilitv" is a reality to-day. 'The time will come," writes the same au- thority, "when millions of people will be writers— there will be countless thousands of playwrights, novelists, scenario, magazine and newspaper writers— they are coming, coming —a whole new world of them!" And d<> you know what these writcrs-to-be an- doing now? Why. they are the men — armies of tlu-n^ — ycung and old, now doing mere clerical work, in oflices, keeping books, selling mcrcliandisi-. or even driving trucks, running elevators, street cars, waiting on tables, working at l)ar- ber chairs, following the plow, or teaching schools in the rural districts; and women, young and old. by scores, now poun(!ing typi-- writcrs. or standing behind counters, or i-mi- ning spindles in factories, bending over sewing machines, or doing housework. ^■es — voit may laugh— but these are the Writers of To- morrow. For writing isn't only fur geniuses as must people think. Don't yoH believe the ercalur mivc you a storyuritivij faculty just as he did the gycatcst ivritcr' Only mavl/c ; you are simply "Muffed" Ijy the thought that you "haven't j the gift." Many people arc simply afraid to try. Or if I they do try, and their first efforts don't satisfy, they simply five up in despair, and that ends it. They're througli. hey never try again. Yet if, Ly some lucky chance, tliey \ had first learned the simple rules of writing, and then given the Imagination free rein they might have astonished the world! But two things are essential in order to become a writer. First, to learn the ordinary principles of writing. Second, to learn to exercise your faculty of Thinkingf, By exer cising a thing you develop it. Your Imagination is some- thing like your right arm. The more you use it the stronger it gets. The principles of writing are no more com pie X than the principles of spelling, arithmetic or any other simple tiling that any hod y knows. Writers learn to piece together a story as easily as a child sets up .1 miniature house with his toy Mocks, It is amaiingly easy after the mind grasps ttie simple "know how." A littic study, a little i)atience, a little confidence, and the tiling that looks hard turns out to he iust as easy as il seemed aifficult. Thousands of people imagine ihey need a fine eilucatinii in order to wiite. NothiiiK is farther f r o m the truth. The greatest writers were the poorest scholars. People rarely learn to write at scliools. They may get the principles there, but they r,ally learn to 7Vritf from the great, wide, open, boundless Book ol Humanity! Yes, seething all around you, Cjvery day. every hour, every minute, in the whirling vortex — the flotsam and jetsam of Life — even in your own home, at work or play, are endless incidents for stories and plays — a wealth of material, a world of things happen- ing. Every one of these has the seed of a story or play in it. Think! If you went to a fire, or saw an accident, you could come home and tell the folks a 1 t about it. Unconsciously you would describe it all very realistically. And if somebody stood by and wrote down exactly what you said, you'd be amazed to find your story would sound juat LETTERS LIKE THIS ARE POURING IN! "With this volumu Iwfore lilm. Ihe verlrat novice should bo able to build atorlea or pUoloplvi that wUi And « ready markni, Th« lie«t trtatlBe of Us kind I liars cn- counttxed In 24 years of news- paper and literary work."— H. PlKHCE W E L L B H, MaNAOINO Kiutoh.ThkBinuhamton I'rkss, "I aold my tint play In lesa than tluee wwitB after getting jour IJOuk/'-THELUA ALMKH. Helena. Mont, "Mr. Irvlmt ha» »o slnipllflcd ■tory and photoplai' wrltlna that anyone with ordinary InlelUgence ought to master It qulcWy. I am having no trouble In selllrg my siorlta and playa now."— 11. M. Jamcb. Dallas, Tbxab. "I hav8 already aold a aynopala —written according to Mr. Irv- tnf'a lii»truciloii»~for $500.00, and some short aketcliei for smal- ler mmi»."—DATio Clakk. I'OBT- LAND, Ore. "Your book opened my eyea to great poMlbUUlM. I recelvtMl my first check to • d a y— $175.00.' — H. Barlow. Lodibville. Kr. "It la tha moat compli^te and practical book ever written on the subject of writing."— Habbt BCHULTZ. KiTCMBNER, ONT, "The book Is all. and more, than you claim it to be."— W T. Watbqn, Whitkhall, N. Y. "I am delighted with tbe book beyond the power of word* to expreaa."— I^adba Davib, Wbn- ATCHBB, Wash. MIks Hcli-'iio I'liiidwlfk, versniiU- scncii ^liir, now loading lady for Tom Miwri- uf ll.ddwyii l-'|lm I'uiiittutiy, (tB}pi; .IS iineresting as many you've rea<l in magazines or seen ■ 111 the screen. Now, you will naturally say, "Well, if Writing is as simple as you say it is. why can't / learn to write? Who says you can't f Listen! A wonderful free book has rocently been written nil this very subject — a book that tells all about a Startling New Easy Method of Writing Stories and Phoiop!Bty». This amazing book, called "The Wonder Book for IVnters." shows how easily stories and plays are Cunceived, written perfected, sold. How many who don't dream they can writPj suddenly tind it out. How the Scenario Kingi and the Story Oueens live and work. How bright men and women, without any special experience, learn to their own amazement that their simplest ideas may furnish brilliant plots for Flays and Stories. How one's own Imagination may provide an endless goldmine of Ideas that bring Happy Success and Handsome Cash Royalties. How new writers get their irnmes int'i print. How to tell if you arc a writer. How to develop your "story fancy," weave clever word-pictures and unique, thrilling, realistic plots. How your friends may be your worst judges. How to avoid discouragement and the pitfalls of Failure. How to win/ This surprising book is absolutely free. No charge. No ohligation. Your copy is wailing for you, \Vrite for it «oif. Get it. It's yours. Then you cnn pour your whole soul itito this magic new enchantment that has come into your hic—itoty and {"lay ivriting. The lure of it, the love of it, the luxury of it will fill your wasted hours and dull moments with profit and pleasure. You will have thii noble, abnorbin^, money-malcing new profession! And all in your spare tune, without interfering with your regular job. Who savs you can't make "easy money" with your brain! Who «;ays you can't turn your Thoughts into cash! Who says you can't make your dreams come true! No- body knows—but the Iwok u-ill tell you. So why waste any more time wondering, dreaming, wait- ing? Simply fill out the coupon below — you're not &i(,virtj7 anything, you're getting it absolutely free. A book that may prove the Book of Your Destiny. A Magic Book through which men and women, young and old, may learn to turn their spare hours into cash! Get your letter in the mail before you alcep to-nisht. Who knows— it may mean for you the Dawn of a New To-morrow! Just address The Authors' Press. Dept. 52, Auburn, New York. The Authors* Press, Dept. 52. Auburn, N. Y. Send me absolutely free "THE WONDER BOOK FOR WRITERS." This does not obligate me in any way. City and State. At Night Puffed Wheat — thin, toasted whole-wheat bubbles — in a- bowl of milk. Mornings Puffed Rice or Corn Puffs with cream and sugar or mixed with any fruit. Toasted Bubble Grains Here are whole grains — Puffed Wheat and Puffed Rice. Corn Puffs are corn hearts puffed. Puffed Wheat in milk forms practically a complete food. All the needed elements, including minerals and vitamines, are there. All are steam e.\ploded — puffed to 8 times normal size. In fact, a hundred million steam explosions occur in every kernel. Every atom is fitted to digest. There are scores of ways to serve them. One is to crisp and butter for children to eat dry. Use like nut meats in home candy making — scatter in your soups. As breakfast dainties they hold premier place. And nothing makes the milk dish so attractive. Don't make them occasional foods. The three kinds offer variety. The more children eat the better. The less they eat the more they want of something not so good. Puffed Puffed Corn Wheat Rice Puffs Also Puffed Rice Pancake Flour Nutty, Fluffy Pancakes Made with Puffed Rice Pancake Flour Mixture Now we offer another delight in pancake flour containing ground Puffed Rice. It makes such pan- cakes as you've never tasted. Try it. The flour is self-raising, so you simply add milk or water. Our experts worked for two years to -secure this ideal blend. The Quaker Q^ts Company Sole Makers MOTION PICTURE ing feet . . . beneath his scattered flowers ... of course he would not forget her, would not be oblivious of her ... he was not so made. The climax came before a clearing of the situation presented itself. It was! all very strange. Of an evening Mr. Jones and Heyst would sit together and play backgammon, each watching the other with a cold intensity. Heyst felt, always, that some presence from a long- filled grave had come to dally with him for some weirdly pleasant hour. Mr. Jones did not betray what he felt, unless it was the faintness of a disbelief, an unwilling sort of a liking, chilling in the extreme. .■\nd always Ricardo followed Alma, begging her favors, making love to her, threatening her, lavishing extravagances of praise upon her, hinting that their pres- ence on Samburan had to do with treas- ures Heyst had stolen from dead men and buried there, on the wane of the moon. On one of these nights, as Ricardo was making his most violent assertions Alma looked up to see Heyst and Mr. Jones standing in the doorway. Mr. Jones con- vulsed her with sick shudders. He looked as a corpse might look who has been I rudely disturbed from his slumbers. "What did I tell you about women?" he muttered, levelling his pistol, suddenly drawn, at Ricardo, all his dispelled ani- mosity suddenly concentrated toward the Venezuelan ; "what did I tell you about women . . . about women . . . what, answer, rat, what?" Alma made the next, sudden move — a knife flashed thru the air — Ricardo toppled over at a thrust of her strong arm — Mr. Jones fired and when the din and the powder cleared away Heyst had Alma in his arms, over both of them her blood flowing, bright red and somehow victorious. "I did this to save you," she whispered to him. holding her throat in which the pulse leapt, frighteningly ; "I did this to save you ... I led him on ... I let him think . . . They would have killed us . . . for gold . . . they think we have gold . . . but now he is gone and you . . . oh, yon are . . . safe ..." The pulse in Alma's throat seemed to Heyst to be his own heart pumping her blood away . . . Negation .... how thin . . . how thin 1 HimselF, a shade among shades . .' . Outside the surf was pounding and tomorrow the hot sun would draw all the strong scents of the earth into its passionate heart and there would be a shimmer of hot gold over all the land, squandered flowers . . . natives dancing . . . this white woman . . . where? Where would she be? ... In his arms . . . close to his heart . . . because he knew ... he knew . . . the riddle of heaven and earth . . . the sea . . . the sky ... all living things and all things dead ... He loved her . . . ."Xnd pressing his mouth on hers . he told her so . . . (Eighty-two) CLASSIC Double Exposures {Continued from page 55) ence of British made films in the States will arouse the same feelings of pardon- able curiosity among the Americans." Speaking of subtitles, why doesn't some company sign Daisy Ashford to write captions? Anne Luther wore 103 gowns during six days of the making of the serial, "The Lurking Peril," and wrecked them all doing stunts. After seeing a serial, we know just how a gown feels after participating in one. The British may poke fun at our screen methods, but their sense of humor stops short of reading their own film press material. We had to send to the nearest drug store for a restorative after our office-boy had glanced over a batch of recent screen press stories. Note these choice bits, bearing the plea "for the favor of insertion" : "Whilst riding on the Downs for a scene in her new production, 'The Gen- tleman Rider,' Miss Violet Hopson was thrown from her horse, and altho not seriously hurt, this popular star sustained a severe shaking. It will be remembered that whilst acting in the Broadwest film, 'A Fortune at Stake,' last year. Miss Hopson had a bad accident in Rotten Row and was for some time unable to work owing to a severely sprained ankle." . And this: "If you had been privileged to look in at the Broadwest studio one day last week you would have found a very merry party at dinner. Somewhere be- hind the scenes, rag-time tunes were being played to 'get the atmosphere,' altho no piano appeared in this particu- lar scene. It was eflfective, however, for when a call of 'speed up that rag' spurred the musician on to syncopate the already raggy tune, the artistes 'got going' and the scene proved a huge suc- cess." German kinemas, according to film men just returned from BerKn, are against providing remarkable musical programs. The popular film demand is for detective and society dramas. The reported wave of immoraiity in the German kinemas seems to be without foundation. The moral level of films there is pronounced excellent. The manufacturing of German lenses and projectors is being taken up rapidly. This wUl shortly have an effect on the American market. At present -American activities on the other side are interesting to note. The Italian Kinema Union, the biggest film organization in Italy, has signed Herbert Brenon to produce a series of pictures starring Marie Doro. The first will be "The Mysterious Prin- cess." (Eighty-three) Lift Corns out with Fingers A few drops of Freezone loosen corns so they peel off Insist on an unbroken package of genuine ' ' Bayer Tablets of Aspirin " marked with the "Bayer Cross." The "Bayer Cross" means you are getting genuine Aspirin, pre- scribed by physicians for over nine- teen years. Handy tin boxes of 12 tablets cost but a few cents. Also larger "Bayer" packages. Aspirin is the trade-mark of Bayer Manufacture of Monoaceticacidester of Salicyl- icacid. Apply a few drops of Freezone upon a tender, aching corn or a callus. The soreness stops and shortly the entire corn or callus loosens and can be lifted off without a twinge of pain. Freezone removes hard corns,, soft corns, also corns between the toes and hardened calluses. Freezone does not irritate the surrounding skin. You feel no pain when applying it or afterward. A small bottle of Freezone costs but a few cents at drug stores anywhere. Tlic Ednid Wcilej Co., CisdDoali, O. KILLTHE HAIR ROOT My methtxl la the onlj wij to prereDt the hair from uowlns ■cain. £av. palolest, harmlraa. No acara. Booklet ftec Write today CDciaalmir 3 stampa. W« toacb beauty cultarA D. J. Mahler, tW-P Mablar Park. Prwfdeace, R. I. Aspirin Name "Bayer" identifies genu- ine Aspirin introduced in 1900. Photoplay fashions change, indeed ! Consider the screen idol of some two years ago, the vampire, the be-curled ingenue. All of them are in the discard, altho the curly-headed flapper has fought hard for screen life. It is distinctly a man's year in the films. Producers declare that the world war has centered interest in masculinity. Anyway, nearly all the new stars on the horizon are men — Eugene O'Brien, Owen Moore, Lew Cody, David Powell and others. But the days of the Bushmans, the Wiltiamses and the other typical film idols have waned. Note what Crane Wilbur says on another page of this Classic. Photoplay followers have sickened of the clothing store manikin who personified every virtue. It's thumbs down for the film idol wearing an arrow collar and a halo. , Today the popular man on the screen must be different — and human. The debut of Douglas Fairbanks marked the dawn of this era. He did some- thing besides pose. Observe how players like Wallie Reid are turning to comedy, how Bert Lytell has switched to character stud- ies in "Lombardi, Ltd." Recently we had 'Gene O'Brien, in "The Perfect Lover," as a painter who decides to put his affairs of the heart behind him and settle down to domes- ticity. And now we have Lew Cody bring- ing another male character to the screen — the typical boulevardier, the man about town who, according to Mr. Cody's own announcement, is "always charming in manner, with a distitigite air and a way with women — in brief, a man of personality who is not dis- liked by men, tho they envy him his savoir faire and his knowledge of the secret of living." Thus the screen male who is a ming- ling of good and bad. Some miles from ,the virtuous but unsoiled black- smith of the pioneer film days! lu For women the steps must neces- sarily come slower. Yet the lady of dead black morals — the vamp — has passed. The guileless ingenue — of dead white morals — is also in oblivion. This year we have had our not en- tirely spotless but more or less human- ly good women of "The Woman Thou Gavest Me," "Kathcrine Bush," and other popular photodramas. Not to mention the sophisticated ladies of the Dc Mille dramas who can look a divorce in the face without quiv- ering a single beaded eyelash. The whole style in women folk has changed. We have our Nazimovas, our stately Kathcrine l^IacDonalds, our lureful Gloria Swansons and our beauteous Corinne Griffiths where once gamboled the be-curled ingenue of other days. We consider the very human frailties of our film heroines as calmly as once the flapper star watched her pet canary. The photoplay can be safely said to be advancing when it no longer de- mands that its characters be good or bad as in the old-fashioned melo- drama.s — white or black of heart in the most obvious style. We have discovered that there is something of good and something of bad in everyone! Which means that our stories are passing the kinder- garten stage. Does not Maugham say, in his "The Moon and Sixpence," "I did not realize how motley are the qualities that go to make up a human being? Now I am well aware that pet- tiness and grandeur, malice and char- ity, hatred and love, can find place side by side in the same human heart." The coming few months will see a definite stand taken against the cut- ting of feature plays to fit de luxe the- ater programs. Recall what David Griffith said re- cently in The Classic? Mary Pickford has just announced that she will not permit her future pro- ductions' to be cut in any way by ex- hibitors, either to shorten their pro- grams or because they do not like cer- tain scenes. This winter is going to see an inter- esting experiment. While American companies are talking of invading Eng- land and the Continent to produce pic- tures, a British film company is com- ing, bag and baggage, to produce in California. The organization, G. B. Samuelson's all-British Company, will probably pro- duce at Universal City. Mr. Samuel- son is bringing his entire companv, in- cluding Madge Titheradge, the well- known stage star, and his whole tech- nical staff, from directors to camera- men. The company arrives via Mon- treal, heading direct for the coast. Mr. Samuelson is planning to make at least two productions: Gertrude Page's "Love in the Wilderness" and Ridgewell Elkin's "Night Riders." Reports from Germany indicate that the late "central power" is returning with vigor to the making of motion pic- tures. An official embargo exists on all foreign films, but, it is said, American and French films are being smuggled into the country in large quantities and are being openly exhibited. The officials in fact are winking at the embargo. (Eigbti/four) CLASSIC i^ Marie: The Mystic "^ (Continued from page 72) serials; especially now that Mr. Jac- card has returned from France to di- rect me." "Yes, you and he have worked to- gether so long, it must be regular team-pulling now, isn't it?" "I've loved and respected all my di- rectors— few girls have had so many charming experiences as I have had under Mr. Turner, Mr. Pollard, Bob Leonard and Tom MacGowan. But I feel that the greatest laurels belong to Jacques Jaccard. We thoroly under- stand each other. You might call me temperamental — I dont call it that. But there are times when I feel cross or blue ; at other times, I feel exuber- antly happy. He knows how to handle me, tho no word is spoken. I get his moods in the same way. I have abso- lute confidence in him, so that when he says a certain dangerous trick must be done in this or that way, I never hesi- tate to do it. I know he understands me and understands the situation per- fectly and I always feel sure that I'll come thru all right. "Every night we write together. Mr. Jaccard has only used three stories in five years that were written by out- siders. He devises plots and thrills and we go over them carefully. That's why I dont have time for pleasure. I have only been to the movies twice in the last four months ! "It is usually very late when I get home from the studio. We use all the daylight possible and then comes the long drive back, dinner, and after that we're ready for the serious business of concocting a story that may run thru fifteen to seventeen weeks. Sometimes I jump up for a few moments and play the piano to relieve the tension of an entire day spent in work and then we get a fresh start, but I retire about ten because you see I have to be up very early in the morning in order to get made up at Universal City in time." "But what do you really do for amusement — when you do work in a little spare time?" Miss Walcamp hesitated, began, hesitated ag^in and said slowly. "I hale to tell you — it will seem silly . to an outsider, I'm afraid. But if I ever have a few days off between pictures, I take everything out of my bureau, chiffonier and closet and put the whole place in apple-pie order. The fact is. that it just rests me and is a regular treat to be able to clear up boxes, ■drawers and clo.sets. Honestly, I cant think of anything I'd rather do than that, save acting. Of course, when it is all finished, I take account of stock, make a memorandum of what I need and go down town in my Stutz and shop. I'm like the rest of the girls — I do love clothes." I should say Marie does love clothes. Hanging in the dressing-room closet was a eautiful black evening gown, made of real Irish lace brought to her (Eightn-five) "Kbu Can I^gp ^ur Hair BQautiful THIS device makes shampooing at home, easy, thorough and convenient. Attaches to any type of combination hot and cold water faucet. Temperature of water regu- lated to suit, the medicated soap tablets contained i:i the nickel plated receptacle combine with water in just the right proportion. 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T.'s Freckle Cream, for stubborn freckles and tan SI. 00 M. T.'s Mioerated Quidot, "The Incomparable Vanishing Cream" $ .75 M. TRiLETY,;;::s,H. Dept. 30, Blnghamton, N. Y. MOTION PICTURE CLASSIC by — well, I promised not to tell who brought it, so mum's the word. It will be worn in "The Red Glove" which is being adapted from "The Fifth Ace" by Douglas Grant. Hope Loring is churning out episodes in continuity as fast as her nimble fingers can dash over the typewriter and the two girls hobnob in odd moments on the lot, discussing innovations. During the shooting of "The Red Ace" Marie Walcamp proved herself an uncomplaining martyr, for a sudden fall broke her wrist. Having learnt many different ways of swimming from the Hawaiian teacher. Miss Walcamp decided not to postpone work on this serial ; had her arm put in splints and, on the fourth day after the accident, was doing high dives and endurance swims in Great Bear Lake, a cold na- tural tank up in the mountains. "Oh, I didn't mind the break, but I was worried for a few hours lest it would interfere with finishing the epi- sode. However, I really think that cold water did me a lot of good. You see the" boards kept me from knocking my arm against anything. It was not really dangerous. After a few days, I felt no inconvenience whatever," said the intrepid lassie. Marie Walcamp's attitude toward animals is interesting. She has such perfect self-control that the dumb brutes seem to sense it. She is always the judge of any horses brought in for her to ride ; sizes up their points ; tries them out and teaches them tricks. "Baby lions are so interesting! Have you ever seen a lioness put her little ones to bed ?" Having lived a safe and sane apart- ment house existence, I hastily dis- claimed such knowledge. "Well," continued Mystic Marie, "the mother gathers up one cub and walks up and down the cage swinging it by the neck the way a cat carries a kitten. Then when it seems ready to doze off she puts it down, sets her foot on it- and, if it doesn't move, gets up and takes the next one and swings that to sleep." But just then props arrived with a boiled egg and a bit of bread, hustled across the fields in a U-bus, so our chat was interrupted for a very tiny luncheon on Marie's part, so tiny in fact that I ejaculated, "You're far more spiritual than material. I believe you live in the mental realm." "A-b-s-o-l-u-t-e-I-y," answered Ma- rie the Mystic slowly. "I dont care anything about material things. I like to spend my time thinking, trying to fathom things. You cant do that if you are wondering whether it will be steak and onions for dinner or sausage and waffles for breakfast. I want to spend my time on the worth-while things and they're absolutely mental, aren't they?" So I'm wondering if Marie is not protected by "presence of mind" — a quality she exercises constantly (Eighty-aix) CLASSIC The Amazing Interview — (Continued from page 2i) bath with a marble shower and a most complete little kitchen equipped, elec- trically, with every device known to culinary use. "I prepare my stewed fruit in there," said Norma, huddled at the time in one of the wicker chairs, hair slicked non- chalantly back, wearing the serge bloom- ers, middy and socks in which I had come upon her taking a scene. She told me, too, of the time Madame Petrova had come there to interview her and they had pre- pared tea and sent out for cakes and all sorts of things. Constance, she said, had loudly observed that there was "real food!" The Talmadges are distinctly a family group. -\ strong camaraderie and inter- est exists between the sisters, which is unusual and rather sweet. Norma and Constance see each other's pictures run, are critical or enthusiastic as they honest- ly believe the occasion demands, but al- ways constructive, and pleased at each other's triumphs and successes. Natalie, the third sister, was. at the time "up with the cows trying to get fat," as explained by Norma. Later on in the afternoon we paid a visit to Constance who occupies a large dressing room and studio on the floor above. We found her with golden baby hair and a blue dressing-gown bemoan- ing and bewailing over her new picture with Conway Tearle she had seen rim that morning. She appealed tragically to Nor- ma. "It is something awful," she de- clared, "aw-ful !" "What's wrong?" asked Norma, with sympathy and a wink. "Everything . . . story . . . lighting . . . me . . . most of all, ME ! Conway saw it and he agrees with me. Simply AWFUL!" Norma informed me on the way back to the cretonned sanctum that it is not half so bad as Constance would have it. I was thinking on other matters, having been of the opinion that it probably was not anywhere nearly so bad. "What," I demanded, "is the reason for the several dozen kewpie dolls I observed in Con- stance's room?" Norma laughed. "Everyone gives Con- stance a doll," she said; "they probably think she's a nut, or simple minded, or something." The laugh, you know, was an affectionate one and the explanation lovingly without malice "And the parrot?" I prompted; "I saw (and heard) a huge parrot in there." "Dick Barthelmess gave her that, out in California. .She named it Richard Bar- thelmess Talmadge . and travelled cross continent with it, taking endless pains. Lillian Gish has one, too. They brought them together and arrived in New York looking, according to themselves, like im- migrants." We found Mother Talmadge awaiting us below and making a great fuss over aforementioned Pom. "What have you done to your hair. Norma?" she greeted (Eighiy-Kven) her illustrious daughter; "looks different." "Combed it. probably," responded Nor- ma, genially. There is a nice air of being "regular people" about Norma which augurs, above all else, a sane perspective, a nice- Iv balanced sense of things, equipoi.se. There is none of the irrational about her, no bizarre evidences of temperament. If you didn't know her for a star . . . well, you wouldn't know her for one, if you get my meaning. She is with you and me and all the rest of us. . No doubt but what she gets a real enjoyment out of what she has done and is doing and the way in which it has all been received. She is es- sentially and quite evidently human enough for that. She is nothing of the snob, nothing of the highbrow. She de- tests the easily and prudishly shocked. She is free and easy and talk to-able and at-able. "I've always had ideals," she told Miss Livingstone and myself, who had doubt- less just denied the same; "and I still have 'em . . . more than ever . . . I've never seen any reason not to !" Those of us who have ideals give them . . . beautifully when we can and always and necessarily helpfully and inspiration- ally to the great many, many "others." Thus Norma Talmadge and the Art which is herself. TO A VAMPIRE I want to be your victim, rare, robed wrecker of the screen. I want to cringe and crawl and do 'most any- thing that's mean. I want a mustache, steely grey, a wife and children, too, That y'(U may see and sneer and snarl a.nd curse them, thru and thru ! I want to break a bank and kill the man who gave me fame ; 1 want my folks to die because I've spoiled the family name ; I'd slink up to your slimy side and kneel to kiss your shoe. If I could be the victim of a vampire such as you ! I want to kiss your false, famed face; I want to curse and cry. To beat, bruise, batter, then beseech of God to let me die; To tear your ' snakelike arms away and dash, with bated breath. Down to the old canal and die a most befitting death! I want you, pampered, poison pet! Believe me when I say I'd dare death-dealing deviltry, beneath your vicious sway ! Seek what you will! Hound me with hale! There's not a hair-breadth scene That I wont do to humor you — but only on the screen ! FAN FANCIES Close-ups lend enchantment. No thin vampire no sin has. Go West, young fan, go West — they're all in 'Frisco! Hero — Never loo great to send — you his autograph. Heroine — A glint in the eyes is sufficient. Comic — A squint in the eyes is sufficient. No fan but would be the hero's valet. It's the wronged dame that gives kids learning ! IFYOULIKETODRAW Write for Free Book ''How to Become An Artist" By oar new method of te*chlnK by mail tou c*n Imtb iUustratlac, autooninf;, corainerciKl art Id your own home. 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It consisted chiefly of two hundred and fifty hoboes from the American side and a large number of Mexicans and Yaquis. There were only thirty-two guns for the crowd and, naturally, Cooley didn't get one. Instead, the generalissimo handed him a bucket and told him to carry water. He cooked his own tortillas, dished up frijoles and ^m , ^^^^^^^^^ performed various other culinary ^M ^^^^^^^^^^^^^ rites, but he never saw the promised ^P^^^^^^^^^^^^^^^ five dollars a day. He saw plenty ^^^^^^^^^^^B^^^^k o^ fighting, however, chiefly among f j^^^^^^^^^W^^f^^^ the tatterdemalions themselves. f ^^j^^^^^H^ ^^H They had an abundant supply of jBn^^^^^^^ ^^H whisky and tobacco, and when- f^\ "" '■■"'- (Continued on page 93) ^^ *^^- > 1 Hal Coole3r's picturesque trail leads across nearly the whole expanse of America Not so long ago Hal was a waiter in a restaurant in Yuma, down in the sun-baked South- west Tired of that, he crawled upon, the top of a Pullman and — . But read his story HALLAM Cooley's trail begins at Minneapolis and zigzags down thru the Wisconsin woods to Highland Park, Illi- nois, where he put in laborious days at the Northwestern Mili- tary Academy. From Highland Park the trail runs towards the wild and woolly Southwest, the home of the sagebrush and cacti. Following this trail about nine years ago, Hal struck a town called Yuma — not a bad town in itself, but one which did not yearn to take him to its heart. He balanced trays in one of its hot and murky restaurants, and the incongruity of the task must have impressed any transcontinental traveler who happened to see him there. In those days, however, Cooley followed his star regard- less of consequences. He was out for experience ! When he grew weary of Yuma, he went down to the station and hopped aboard the Sunset Limited. Under cover of the darkness, he crawled on top of a Pullman and journeyed into Calexico. He had heard that the gentlemen adven- turers of Madero's forces were re- ceiving five dollars a day. that Calexico was the place where a (Eightii-ciglitj CLASSIC The Celluloid Critic {Continued from page 57) interest. Director David Kirkland has overemphasized his points thruout, yet "The Virtuous Vamp" will entertain you, for Miss Talmadge's singular com- edy sense gets much play in it. Conway Tearle is a good foil and Gilda Grey, the famous "shimmie" artist of the New York white light district, makes a trem- bling screen debut. Wilfred North has hit upon a singu- larly timely theme in his "The Undercur- rent," in which the pugnacious Cjuy F,m- pey enters civil life — on the screen. Empey depicts a returned soldier who, upon discarding his uniform, gets in- volved with the Bolsheviki. but recovers himself in time to prevent rioters from burning the local steel, roills. Working under handicaps. Mr. North deserves a large share of praise. J. Stuart Blackton's newest produc- tion. "Dawn," (Pathe), is a visualization of Eleanor Porter's story of a young man who goes blind and his subsequent regeneration into a man of vigor, despite his handicap. We fear Mr. Blackton has selected too depressing a theme for wide popularity. Again, we belie've Robert Gordon miscast in leading roles. This. of course, is our personal belief, but we think Mr. Gordon is a character player and that he is lost in his present type of work. A Request By Walter E. M.mr If there are visions in the solemn night That wait for mc with eager, trembling hands. Plucking my sleeve, and bidding me to write. Ere drift away the swiftly-spilling sands: If there are unborn truths bevond the veil That yearn to find their being in my pen. If I may voice oppression-stifled wail, .And champion the cause of shackled men : Say not of mc "He is a fool to cast "Awav the glut and glitter of his Art !" Breathe only that I held unto the last Love s single jewel of wonder to my heart. Tell them when I have finished. "Ay, he wrote "Becauscv he loved, nor found the world too kind, "Kxcei)t that this one splendor show ed no mote "Of tarnish, ere the Angel struck him blind." Say this, and all your little world of tears May roll its course, while I go on anew. Clasping my single jewel thruout the years, Yet knowing I have given it to you ! {lCif}htii'nive) Learn to Write Short Stories. You can now learn to write Short Stories, Photoplays, Magazine and News- paper articles in your own home. Thoseday dreams of yours may nieana futureto you because you can now It-arn how to put them in m;)rketable form through a neu' efficient training*. Writing is not a ''j;itt from Heaven." The ability to write is acquired — just like any other ability. And YOU can acquire the ability through Hoosier Institute training, righi in your own home during your spars time. You receive personal instruction. You will find the work fescinating and it will be surpisiog how your writing improves. 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The name "Wurliiztr" has stood for the highest caality for ■t^ nearly two ccnMiriea. Every known musical instroment sold to yoo at d.rect- from-tbe; manufacturer' 3 ' W Gov't with trumpets f or 5o years. instroment sold to you i We've supplied U. S. Send the Coupon / ^'""li??.*";^*"*^ Just put your name and address on the coupon ^ s ^wil.l.h'AvInu'l'" Ch?c'ii^**riL now. Please state whatii Ther? is no obligatio I fruin (ha coupon ^ s. W>b»b Avinue. Chic»ao, IIL truraentyuu areinlerested X ^ ., „, j_ __ .,- W CcntlctTMn:— Plea■«■eadrner1>IIrI60- ^ pBsacauloc. kbaolutelr frr«. Atooirll COUpi>n now! ' about yoor Bpceul orTrr dir. * The Rudolph Vurlitser Co. > ^, Dept 1551 / ^'""'- - East Fourth Street, Cincinnati, Ohio. / Addretm „ South Wabash Avenue. Chicago, lil. y /ant intertaUdin^.. Deformities of the Back Greatly benefited or entirely ^\ cured bythe PtuloBurt Method. The 30.000 cases successftilly treated in our experience of over 17 years is absolute proof of this statement. No matter how serious yoor ; deformitj', no matter what treat- ments you have tried, think of the thousands of sufferers this method has made well and happy. We will provethe Taloe of the Philo Burt Method in your own case. The Philo Burt Appliance on 30 Days' Trial Since yoa run no risk there is no ressoowhyyoa should not accept oar offer at once. The photographs here sfaowhowligfat. cool, elastic and easily adjustable the Philo Burt A[)f^iance is — bow different from the ok) torturing plaster, leather or stediackets. To weakraed or deformed spines it ^)rw^^'all^lnrf^Vf ift'iifiirTlMfrvfTiin the most serioms cases. You owe it to yourself to investifcate it thoroafrhly. The price is witbin reach of aO. Serndforottr Free Book tadmy and describe the nature and condtrton <A. yoai troable as fully as possible so we cangive you definite inlorTnarinn. PfTTLO BURT IfFG. CO. Be a "Movie** Photographer Eua<S*l«t2M«<.klr F^^ !■— fi-y worfc '"^■f rau to all pacta L bruneL college o( PHOTOGRAPHY ftia oofUMCtioo witfa\ V «nT other scbaol / 12C9 Brxiwi;, NrwYaifc Okr or Ewht cLKisfs. S montha' courae raeaptrtr Inatrurtiaa i PfcaOC^IU •»' Mvtton Hctwrvs onprmtiiiK sU stvidard can taatiiw-iori. Instalhamta ta^en. CmM BthmI ofxratca 20 ^ Y«rt. Chicaro. BoMw. Philadelphia. Detrott. Pitttburxh. CaM ttr M*« today for Booktot S. Expert BECOME A GRADUATE ' Practical Nurse Toa can can SU to C mOvSaL taiSwsfnKkn«wtoMoo ^m CELECT your own '-^ subject — love, patriotism — write what the heart dictate^ then submit yonr poem to ns. We write the moaic and suantntee pobUab- tx*m acceptance. Our leading compoeer a Mr. Leo Friedman one of Ajnenca's well-known musiciaiis, tbe author of miny song Buccesies, socfa ma "Mmt Me Tomgkt in DnamUnul." "Ltt Me Catt You SwttOtmrt." ~Whn$ IDrttan tfOld Erin," and ochen the ales «C whidi no into nrilHon ci cefMo. 8«fkd M Many po^H m r» «**■ Ooa't Dolov. Oot ■— Qol>> An Old-Fashioned Girl {Continued from page 25) She has a bottle of Hungarian glass, red and white, with one small wine-glass to match, which was used by President Buehanan in his own home. There are scent bottles, tall cut-glass bottles for the dresser, Chinese lacquer bottles, old majolica bottles — in fact, the array of liquid-holders is simply astounding. Marj' is a connoisseur who delights the owners of old curiosit)' shops. Mary Maclvor is just past eighteen and looks not a day over fourteen. One cant believe it possible that she presides over the lovely home at 2018 Cahtienga Avenue, a terraced, flowered bungalow in Hollywood. She wears simple frocks, little one-piece dresses like those of a small girl, and her sunshiny hair, which waves and curls quite naturally, is held back at the nape of the neck by an amber pin. A huge, floppy straw hat with a ribbon twisted around the crown and pulled thru the brim at the back is as unadorned and plain as if Mary Maclvor were a schoolgirl instead of a leading lady and the wife of a star. Mr. Desmond, who had been entertain- ing a business caller on the veranda, blocked the door and shook his finger threateningly. "Dont make this too con- fidential. Baby. Remember, every word you utter will go down in black and white." ''I suppose Mr. Desmond will play leads with you?" we said. "Yes, when she gets a little older ; she cant make up to look old enough just now," he answered. "How did you come to pictures, and why ?" "Necessity! Need of money. There was no romance coimected with my first appearance at all. I was at a fancy dress ball in Culver City, had been taken there by friends, and Thomas Ince saw me. He offered me a job with fifteC^ dollars a week wages " MOTION PICTURE CLASSIC "Yes, once. A director swore at me. Men may swear before me, but not at me. A girl's defensive armor is her self- respect and 1 shall always maintain mine. Never did I work under that man again, altho he made the apologj' I de- manded." The pride of Scotch ancestrj- and Southern environment sparkled in Mary's wistful grey eyes. SHORT CUTS TO FILMDOM Things are not what thej' screen. It's a wise atrthor that knows his own scripL Rome can he huflt in a day — leave it to props ! Dont hitch yonr wagon tc a star — be one! Marry in haste, divorce at leisure. Dont look before you leap — it's only a papier-mache cliff! Nine tailors may make a man, but one good modiste can make a star. Sclf-p-^ssessioii is nine-tenths of the lore. Fortune favors film stars. The pay's the thing! A fan's a fan for a' that! Custard-pie covers a multitude of things. A, press agent at liand is worlli reams of gusli. A reel of Oiapliu makes us all akin. Plots — All that aren't swiped are old. Still drama brings sleep. Too many crooks foil the fan. A sweet ingenue is halt the plot. The vamp is the mother of dissension. Cast curls for all lines. Fan-cied is as fancy does. "Engagement, Sweetie, and one gets a salary in the movies, not wages!" groaned the Irishman from Dublin. "Some day Beedee, (as she calls her big husband), and I are going to build a fine house, aren't we, Beedee? A house with a six-foot fireplace and logs that bum three days, enormous chairs every- where, a landscape window ten feet wide, a private den for Beedee and a little room where I can write whenever I feel like it. Yes, I write short stories and poems, 'out I hate scenarios or con- tinuity or anything with numbers in it. "1 love the Bible because it contains all I want — poetry, history, love stories and battles, but I never really enjoyed it until I was given one without num- bered verses, written just like a novel. It used to distract me to read about Ruth and Naomi with those old figures straggling down the page — reminded me of a movie script: Scene I. Ruth says 'Entreat me not to leave you.' " "Have you experienced anything un- pleasant in pictures?" THE SOUL OF THE SCREEN By Frederic T. Cardoze I am the voiceless soul of many a scene, My realm the boundless regions of the screen ; A million million vassals I command With but an idle gesture of the hand. I am the whole wide earth. I am the sea, I wing the universe on pinions free; I am the hill of smiles, the vale of tears, 1 am a day, I am a thousand years, I am the jade Deceit, I am the truth, I am maturity and I am golden youth. And I am folly, frivolous and vain. Yet I am wisdom, when I will, again. To me there is no hidden road or path, I hold the keys to gladness and to wrath; I am the silent guide to every glade Where glows the sun or falls the somber shade. Today I steal a garment from the light. Tomorrow, from the wardrobe of the night; 1 am a ragged beggar, bowed and grey. Yet I am Croesus, flinging gold away; I am the cold and flaunting ifistress Pride, And I am Modesty with Diffidence allied. The deeds of ages, dead and quick, I trace ; I barter not with time nor yet with space. Tho from my tightened lips there falls no word, The messages I bear are clearly heard ; The fair and foul things of life I glean — I am the soul and spirit of the screen! THE OUTCOME By Claren-ce E. Flynn Life's always at its best upon the screen. It is not perfect. Life is never so. There runs a struggle thru each shifting scene. And shadows often come, their pall to throw Across the landscape. Things go wrong a while. But always comes at last the shine's glow. And gloom is followed by the song and smile. In every drama wrong must have its reign. In every tale the villain has his day: Gladness we see. contrasting it with pain. And truth is valued but by error's sway. The right and wrong are alternate in power. The scene is now in sun, now shadow cast. But tho the wrong may triumph for an hour. The right is seated on the throne at last. PaOie' Feature Photoplays reveal the Progress in Motion Picture Art, an Art which had its Origin with Pat he. THE first motion picture feature, a scant two hundred feet in length, but truly picturi/jng a written story and en- acted by experienced actors, was made by Charles Pathe over twenty years ago. Never before had a story been put into a motion picture! The first comedy, the first drama and the first of the longer pictures \\ ere all made by Pathe. More than fifteen years ago Pathe was reproducing in picture forin the works oj famous novelists and • playwrights, the very first company to see the necessity for giving to the public for its entertainment the best work of the best minds. Thus each step in the evoUition of the wtll written, well directed and well acted feature of today was first taken l)y this great pioneer. And today, as yesterday. Pathe Photo- plays present the l)est in auth()rslii|). direction, iicting and prcMluction. Among the producers are Frank Keenan. Hohart Henley. Edgar Lewis, 1. Stnart Blackton. All)ert Capellani, Leonce Ferret, Edwin Carewe and Jesse D. Hampton. Man for man, measure<l hv achievement, these prothicers have no .superiors in the husiness. Ask the manager of your favorite theatre v;hen he will show Hohart Henley's "The Gay Old Dog", adapted ■ from Edna Ferherls story ; Blanche Sweet in "A Woman of Pleasure", produced by Jesse D. Hampton and adapted from James Willard's famous play; Albert Capellani's "The Right to Lie", with Dolores Cassinelli ; and J. Stuart Blackton's "Dawn". They are first presented this month. Pathe Exchange, Inc., 25 West 45th Street, New York City. 0iarlesThihe' For your entertainment's sake seek the theatre with the Pathe Rooster on its screen! (Nimety-one) Comic Conkling By MARY McAUBREY pute our rancher, so let's go," bantered one. "Get him to tell you about his flock of bees he's fattening up for Christmas," called another, as the group vanished into the dressing-rooms. "Are you a rancher as well as a comedian?" I asked. "Sure," laughed Mr. Conklin. "I work at comedy and play at ranching. That is a fine balance, for you cant work at comedy all the time — it wears you out, and ranching is the great- est play there is." Sitting on the steps of the big yellow street car, marked "The Wait In Vain Transit Co.," which figured in the new picture, the little come- dian whose antics have occasioned thousands of laughs during his years on the screen told me all about his ranch, a hundred miles north of the city. There are 320 acres, with 65 in citrus fruit; there is a wonderful view across the desert, with its fascinating lights and shadows, that lures one into its very heart. You cant get away once you succumb to its spell ! There are several thou- sand turkeys, and then there arc the bees ! ^t"! Till-: forest fires raging in the mountains back of Pasadena flung a curtain of smoke over tiie valley, making ex- terior camera work a difficult matter in the naiiy studios in Hol- lywood and Los An- geles. Out on the Fox stu- dio lot a g r o u p of jilayers were waiting for the haze to lift long enough to finish their scene. "I should say that motion pictures make the greatest little pa- tience exerciser in the w o r 1 d," remarked Chester Conklin. "You nuist learn not tccwor- ry over delays in this business or you would go crazy. There's no hope, boys." he con- tinued, with his mild blue eyes fastened on the grayish sky, "there'll be no more sunshine today." "No one will dis 1^ We forgot all about pic tures and interviews and for- est fires and overcast skies, while he told me many inter- esting things regarding the habits of the little creatures, lie finds them an absorbing subject and is collecting a li- brary on bee culture. Recently he had to move his bee stands nearer to the honey flow — meaning the orchards, for in sea.son these tireless workers labor so hard that they wear themselves out ; in fact, they frequently die of exhaustion. Suddenly, while talking, Mr. Conklin took off the paint- brush mustache which has formed a veritable trade- mark for this comedian, and he was so completely changed that I should never have rec- ognized him. "Why," I gasped, "you look years younger !" {Continued on page 97) Chester Conklin works at com- edy and plays at ranching. He owns 320 acres and devotes the space to citrus fruit, turkeys and — ^bees. Honestly! (Ninctytwo) (Don't Belong 10 the Great Unlit You aee them on every side — men who don't count — men who are los- InK every chance of happiness and success in life, some because chronic ailments are wastine away their energy: others through loss of their vitality through early excesses and dissipations. Has Constipation, Indigestion. BllioiJBness, or any other chronic aliment got a grip on YOU? Do yuu reel that you are not as good a man as you used to be; that your foimer pep and punch and energy is ehblng away? Are YOU slipping gradually Into that great army of hopeless, useless, broken-down hu- manity? If so, take hold of ronr- t»e-lf at once, act quick, and Fight Your Way Out You can do II, If vou will only WILL to do It. You can free yourself of your handicapping all- nents and build yourself up. You can turn the watery fluid In your veins Into rich, red blood, develop your muscles, strengthen all your vital orgaoa. gel back the power— THE MANHOOD -you lu'vo lest. Olid hcve crery chance in tbe world t^ becondnx a hig, <itronir, successful MAN. If you ACT NOW and bo dfout It (he right way. STRONGFORTISM Strcinff orl Ism Ij* the one wuy out for weak, anaemic, ail- ing mfiL It Is Naturir's wa^-, and Nature in rhe greatest Builder Up the wcrtd has t'ver kjiown. Put the machine that Nature gave you in shapo to do its work: Ure Ufe as Nature meant it to b£> llred. and health,' streugth. happi- ness— everything worth wtUle in the worid-^l9 the In- evitable rc3ulL I KNOW. Thousands of my pupUs. many of them dls- ccuraged. broken-down wrecks when they took up Strong- fortism. are walking the streets today, strong, vigorous, healthy, able MUN. I GUARANTEE lo improve ycu 100 pa cent. If you will foUcw my dlrectlotia for a few months. It doesLj't make any dllTerence what ycur present ctmdltion is or what brought you to It. I can and I will do what I claim, and without patent metUcines or drugs of any kind. Sead for Mt free BOOK I bava mt the raavlts of my Utm'm work. BoUdlna Vo Man, tnt* "FnoiMmON and COMSCKVATIOH of HCALTMrSTMbMITII AMO MCNTAL EMCJKV." It tclla roa all Kboot Sltowfartisai. ItwUlaho* joa how TOU can r4d yvarmc'.t of roar aitesotB, build yourself op, B>ka yoorsrlf a well, atrou. eoaivvtic mui aaalo. Id MMlMm'W wlQr. Sand tor It todar. ITS FREE^-but tt'a w<vtb good amatt ta any Ruui who vanta to be atrony and ririif. Don't wait. FW out th« cwMMMt RIGHT MOW. and >«ad it to rw with tbrr* Zc atampa to cover packmK and [iiiataa» and I'll ntail tou a raoy at once aloria with a letter an Cha apadaJ points yoa ar« IntereaLnl in. LIONEL STRONGFORT Phymicat and H»atth Spiiiajimt 1109 Straoifort bulilot« NEWARK. N. J. Wrestling Book FREE brw>n — thiiinayoarapar* linta. Tb« (took taHa too bow, lb* wncld'a aBarrakMia ondafaatad chaaipton aod Ue traiaer Ftank Gotck and Fanner Bnrssr?.*?! " "" " ■ * »• and hil-iitoa eaally M :«aadtncka. nratchaac* \fn maa boya. bara la roar ajtaj (( DONT SHOUT" *I hear you. 1 can hear now as well '^i a> majhaiy. ' How > ' With THE MORLEY PHONE. I've a pair in my eari bow. but lliry are mvinble. I would doI know I had them in. myaetf. only thai I hear all riaKt. "The Morlev PKorte (or (he DEAF t» to the ear* what glaHea are to the eyea, Invii&lc. com- fortable, wdghtlen and haim- — Ie»». Anyone can adjutf it." i— ^ Orel one huD<lred thoiuaod told. Write (or booklet and leatimoDiaU. THE MORLEY CO.. Dept^792. 26 S. 15th Slre«t, PhiU. Your Bunion Can Be Cured Instant Relief Prove It At My Expense made and I want you to let me aend vou my ■>a;.,-'*ot" treatment FREE. enUrely at my eipenae. I don't cai,. how many ao*call«d cures, or shields or pads you ever tried without succeas— I don't care how distTirted vou reel Willi Iheiti >H->ou ha^e not tried mv remedv anil I liM*e such al>8olute omfldeuce in It that I am lalni to Mild y«u this treatHCRt aba^otBly FBEE. It is a won- derful yet simple home treatment which relieves you almost Instantly of all pain: U removes the caiu« of the bunion and thus the ugly deformity disappears— all this while you i are wearlns tighter shoes than ever I i know It will do all this and I want you i i to send for "Falryfoof FREE, at m\ [ J i-ipens<. because 1 know vou will tber I >^M tell ■)■ vour friends abont It Just a; I ^W tboae 72 SOO otfa«ra are doin* acn, WHta I ^ oow. «,th(s„ftODnfem*nr marnot appeal- h ' /* a»d addrea. aiuP' Fal irfOOt ' ' wiJI tie .eTitlroi ... Pi-omptljrin plain aeaierfenTelope. Write today . I Mini. Oavi. 23 3M1 Opton Av«. iiiiiiiiiiiiiiiiiiii'" Hallam Cooley's Trail (Continued from page 88) they smashed one another over the heads with boxes of twenty-five cent cigars. Cigaret tobacco was so plentiful in camp that a whole sackful was rolled up in each cigaret. Nine quart bottles of Ca- nadian Club whisky were often traded for a needle and thread. This life, however, finally palled on the young adventurer. So he decided to "hit the trail" again, and this time he made for the C. M. Ranch, where Uncle .Sam gave him a job hauling supplies for the U. S. Reclamation Service. He had to rise at three o'clock in the morning, light the fire, hitch up a team of mules, load a wagon and set out before day- break to visit camps on the farther -side of the Colorado River. His favorite plan wa9 to drive to the banks of the stream, disrobe and wade across with the mules. Thousands of buzzards pursued him upon these excursions, waiting to breakfast on the scraps that might fall from his wagon-load. When he had exhausted the thrills and adventures of this way of living. Cooley worked his way westward towards the Pacific Ocean and finally landed in Los Angeles. He did not make his advent in hero style. He came into the City of Angels on foot and the Salvation Army befriended him. By hook or crook he drifted into pic- tures. It wasn't long before his natural talent for acting asserted itself. His good looks, his spontaneity and dash won him good parts and he cashed in without delay on the knowledge of life he had gained "roughing it" on the trail. He worked for Selig, Universal, American and finally for Ince. He appeared in the AI Woods picture "'The Guilty Man," as the heavy with Charles Ray in "The Girl Dodger" and with Enid Bennett in "Happy Tho Married." Later he had a season with another concern, playing im- portant roles, and he is now with Famous Players-Lasky. "I was bom in Brooklyn," he went on, "but I think I prefer the West to the East, particularly ■ since I have found happiness here. You know I was mar- ried last Christmas to Miss Elizabeth Bates, of Columbus, Georgia. We are building a house on Lanewood Avenue, Hollywood — just the sort of place I've always dreamed of — a home of the Pueblo sort, with a big patio and wide verandas. Also. I'm going to have cacti growing in the front yard — lots of it — for, despite my wild experiences in the >l;sert country. I learnt to love sand and sagebrush and cacti. There is mvstery and an enchantment about the desert that only those who have lived in it can know. It speaks with a voice that is heard by the heart — its very silence is full of music ! "Yes, I am happy ! I have found my- self ! I have found peace and joy in my work and I have discovered that home is where the heart is. If heaven is a state of mind, I am living there now !" The Perfect Hair Remover D '^MIRACLE, ihc origiiial sanitary liquid is ^ually effi^ cadous for removing super, fluous hair from face, nedt, arms, underarms or limbs. Thn common xnae method U both (ogi- cd and practicaL It acu quickly and with absolute cotainty. DeMiTBclc reguirea no mixing. It b ready tot utstant use. Therefore dotnly and roost convenient (d apfity. 5ompia— We do not supply then, bat you can by DcMirade at our expetise. Buy a bottle, use it )u4 once, and tf you are not coavioccd that it is the pef^ct hair toBOTer tetuni it to us with the DeMiradc suaraotec asd we will re- nmd youi rooney. Three sizes: 60c $1.00. $2.00. At all loikl countert. or dmctfnmua in plain wrapper, on nceipt of 63c. SI. 04 or $2. OS. which inchidea war E>ci*. K-28 Puk Avoiije ud 129th Street N«w Yofk PAY $100 to $150 MONTH U. &. GavwBoiaat Wasts— RaUway Hall Clwfca— PMt«a«* _^ Clarlit— Clarks at WashlaptM. 0. C. TTiaotuds Maa aad W«- wl"cr.*?h'"''"::i^^ FRAHKLIH INSTITUTE eudldatea ^^^^^ "*••*■ '•™' «•«*>•««««•. H. V. fre«. ^^^^^ This coupon, lllled out as directed, enlilles the .'U-nder to (1) free sample examloatioo queatloos; {21 a free copy of iHir iHwk "tJoreniment Positions and How lo Get Them:'" (3i free list «rf poalUona now opeo and (4) to con.-aderatlon for Free Coaching for the ex- amination here checked. (Ninety-three) CO U P faHMriwchtfiiCMaoi . iMffin CM .IIM-SIW . fenlMCin»..S72M2n ■twiinmii.awnew ■ Um ttb kafar* VM Im» M. Wrtt* PfalalyH Blanche 0 Biograph K Remember Blanche Sweet as the 'Biograph blonde" of the old days ? She has long since established herself as one of the P«"ona''- ties of the silversheet. Miss Sweet b forth- coming releases are appearing thru Path*. They will be watched with unusual interest by fans (Nin>ty-t<ts) MOTION PICTURE CLASSIC Comic {Continued f. Grinning at my surprise, he replied, "Guess this mustache keeps me from get- ting mash notes. I receive lots of letters from all over the country telling me they like this or that in my pictures and even asking for my jihotographs, but never a love note. • • "When I was a youngster back in Os- kaloosa. Iowa. I knew a man with just such a nnistache. It always amused me and I used to hang around his shoj) waiting for him to talk so I could watch it move up and down. When I came to motion pictures and was trying to think up a fun- ny character to create for my comedies I naturally remembered that mustache." Armed with this make-up and adding those ridiculously loose and baggy clothes and enormous shoes (which he obtains from the largest policeman on the Los Angeles beat), Chester Conklin has suc- ceeded in establishing an amusing screen comedy character that has endeared him to a host of fun-lovers. Now, Chester's father was a contrac- tor and builder and he hoped the son would follow in his steps, but after speak- ing a few pieces at church festivals and winning an elocution prize at the age of 12, Chester upset these plans by announc- ing that he intended to be an actor. The comedian's eyes twinkled as he re- called these early experiences. "Father urged me to stay at home and let him make a man of me," he began, cheerful- ly, "and he kept saying that he had never seen an actor who was worth a hill of beans. I guess he didn't change his mind about this for several years after I start- ed out, for I called on him repeatedly for money. Xow? Oh, iwa', he thinks I'm great I "I finally ran away from home and got a job at the Grand Theater in Des Moines and 1 was the happiest kid in the state. Sonietimes I carried a sword, sometimes a spear, and ■ sometimes I was lucky enough to have a real bit. Then followed a little of everything, .stock and road shows, several vaudeville acts, ai'id I also took a turn at being a circus clown. "When you love your work you dont care how hard it is. Unhappiness comes when people struggle along some uncon- genial rut to make a living while longing for something different all the time. "Xow, I'm sure I am in the greatest business there is and I'll be satisfied if I succeed in making people laugh. There are enough sorrows and tears in the world without making pictures about them. I never did hanker after your heavy stuff!" After watching a very red sun drop thru a haze of smoke in the western sky, Mr. Conklin went on. "To me the greatest fascination of motion pictures is the thought that these films we are mak- ing will reach the people in all countries. No matter who or where they are, they all under.stand the same fun and a laugh is the universal language. Often, when I am doing some nonsense before the cam- era I think of this and I'm glad, clear dfinetihseven ) Conklin roin page 92) thru, that I can help jolly the old world along." It was Charlie Ray who started Ches- ter Conklin on his screen career. They liad played together in a vaudeville act up and down the coast, and at the end of their tour Mr. Ray had ventured into pictures under the Thomas Ince banner, while Chester went back on the road with a circus. Drifting into Los .Angeles again a little later, he decided to follow Char- lie's suggestion that he, too, try pictures, and so for six years Chester Conklin has been one of the Sennett prize come- dians. A few months ago he brought his mustache, along with his merriment, over to the Fox lot to become a star of the Sunshine Comedies. "Where do we get the ideas for our pictures?" He repeated my question. "Well, I should say from everywhere, .lust ])luck them out of the air sometimes. For instance, the comedy we are now making was suggested by the recent street- car strike. We are picking i^ some lu- dicrous situations and makinga good two- reeler out of it. There are funny sides to every r|uestion, if we'll only see them. "To play before the camera one must keep, themselves in good physical and mental trim ; you cant afford to go stale. Your mind has to be open to all' the light touches, real comedy can never be forced." Chester Conklin is a quiet, diffident little fellow, reluctant to talk about him- self. He has a sane, wholesome outlook on life and declares that living in the at- mosphere of comedy clears away the clouds and depressions. "Comedy," he remarked, as we walked toward the gate thru the de.serted stages, "is nothing more than what should be happening all the time if we would only forget to worry." This cheerful attitude permeates his work on the screen and he has succeeded in bringing to his pictures a refreshing, s|)ontaneity, for many of his best efforts at fun-making are achieved on the spur of the minute, many laugh-provokers I living the result nf a sudden whim. .S(p. Chester Conklin may well be sat- isfied— for he is indeed "making people laugh 1" The Answer Man KoXHOHotiiiH ; Fi.oUHNCK p.; Mary F. ; Fairf. Bi.NNF.Y Fan: X.XX; Movik Fan; Connie J.; Ebma M.; F.VKi.YN W.; Chums; Audra; R. C. Z. ; Pkarl; M. M.; Acnes Mc; Uf.lla K.; Ruth M. ; W. S. Hart Admirkr; Ulake B.; L. S.— Most of your questions have been answered elsewhere in this department, and yon leave me nothing to say. S'long. Moi Pour Mary.— Thanks, but I dont object to the pniiishment. That's right. Mary; home is the place where we are treated best but grumble most. Charlks Bryant Admirer. — So yon think it's a novelty to write to a stranger, t^'mph ! Am I a stranger? Some of .vour letters are novelties, too; worth framing. My dear, women throw away three things— time, money and health. In New York, girls wear spring suits, pumps and straw hats in February. If that isn't flirting with death, I'll lie hanged, LEARN NUSK PIAT BY NOTE Miu, Ornn, Vlttin, C«Mt. SulUr. Binji, Mindolln. Hitp, 'Cilia. IrombMi. Fluti, Chrlflit. ricttlo, U^ilik, SitiphtM, TiAor Bin)o. Hiwiilin Stii) Btiitit, Violi. Kirmoflir ind Coffluiltkin, SlihfSimlfn AT muti knulta Bow !•■, write. ;^'R»e«l»a(l ■ehuol kod wouTa not Uka ■nrthrnjt for th« halb It hu clvan RIB." Music no longer difficult ! New plan makes it easy to learn by home study. Positively eas- ier than with private teacher. Faster progress. You will be able to play your favorite in- strument in a few short months! More than, 200. 000 men, women and children have learned by our method. You,' too, can learn in your spare time. We guarantee it. Lessons FREE Wp wuil to have one pupil In etch luc&] Ity at onre to h^lp uJvertlM our homo study niethcd. For ft sliorl time, therffore. we offer our ni*rvulou8 lessons FREE. Only chorfe Is for postw« ind sheet mu*l<?, which Is nmall. Btfirlmiora or idTftnced pupils. Write for anisKln^ tteo book firing all the fads u\d partlculaTft. Send a puAtftl today! Instruments supplied when needed, cash or credit U. 8. SCHOOL OF MUSIC set BruntwlekBldff..N«w York City eomplimtnt v«u on rour won- dorful ■ritatn. Did not knoir ■nothar, but''ln ■ ihort tin* hav* niaal«r*d the pUno and un now eom- pailnrmiulc." C. N. Pitta, writpi; ''Hava cofflpUtad four eouri*onrlallD. Now havf It Class Pins "SSc&VrJssr Two Catalogs FREE for thn aakinff. Pin shown here witbaoy letters, numerals, or colon, out or Stiver Plati 20o each: 92.00 par doz. UNION EMBLEM CO.. SS* GrtiMrBallilaf.P.larn.P*. Write the Words For a Song Write the words for a song. We revise song-poems, compose music for them, and guarantee to secure publication on a royalty basis by a New Yorlc musicpub- lisher. Our Lyric Editor and Chief Cfom- poser is a song-writer of national reputa- tion and has written many big song-hits. Mail your ^ong-poem on love, peace, vic- tory or any other subject to us today. Poems submitted are examined free. BROADWAY COMPOSING STUDIOS lOT-F FllwmM BMf ., BratJoir tl Hat. S<un. NEW YORK a^SE I As beneficial as a hot water bottle Because Piso's !s a real help — day or night, in pievcnting winter's most frequent ills. It allays coughn and hoarseness and soothes Irri- tated "ticlcly" throats. Keep it always in tlic medicine cabinet. It may save a weary trip to the drug store at night. SSc at your Jruggiu ,. Cmlaint no ofiwle Good for young and old PISO'S for Couf^hs K Co/ds zy Costs 15 Cents As Much as 15 Dishes of Delicious Quaker Oats A serving of bacon and eggs, at this writing, costs the housewife about IS cents. It supplies about 250 calories — the energy measure of food value. That ISc would buy about 15 dishes of Quaker Oats. And they would supply 2,500 calories of food. Compare Food Values Quaker Oats yields 1810 calories per pound. Round steak yields 890. So oats are twice as nutritious as beef, measured on the calory basis. The cost of some necessary foods at this writing will average about as follows : Coat Per 1000 Calorie* Quakar OaU . BKe Avarafa MaaU • • 4Se FUh about • . BOe Ef(> . . eoc VagaUblai - lie to 78c r Oat This doesn't mean to eat oats alone. One needs variety. But Quaker Oats is the supreme basic breakfast. It costs one-ninth what meat and eggs cost for the same calory value. And the oat is the greatest food that grows. All Puny Grain* Diacarded Quaker Oats is flaked from queen grains Oat lovers all the world over send here only— just the rich, plump, flavory oats. for Quaker Oats. We get but ten pounds from a bushel. By ,„i,t,„,,» ,,»,- discarding all the small grains we get a \ou get all this flavor without extra delightful flavor. pri" when you specify Quaker Oats. ISc and 3Sc per Paekag* Emctpl (n >A« Fmr Wtit mit^ Stmth AicKarf In StaltJ Round Paekag— uiith Rtmooabtm CoPT )2I0A MOTION PICTURE Erich Von Stroheim and The Miracle (^Continued from page 69) sible and the big, crashing final scene will be made last of all, for by that time the actors will fully grasp the undercurrent and depths of the preceding situations. Taken now, they would not feel the true values. "Yesterday, we had some highly emo- tional scenes and — " "You should have seen him," inter- rupted Una Trevelyn. "While he was making me cry as if my heart would break, I looked up and he was crying, too — he feels everything he is directing. He knows all about period furniture and dec- orations, and all the great paintings," went on Una, as we watched him arrange the yellow satin drape on the table in the foreground of the set. ".\nd music," said Sam de Grasse ; "he has a thoro acquaintance with the musical classics and knows what should be played during each scene to bring out the best efforts. He plays the violin him- self." "He knows all literature, too," chimed in Clyde Fillmore. "I can't see how he has managed to learn so much in his few years, it must be the result of his conti- nental education." As I left the studio and stepped out into the late afternoon sunshine, with the haunting melody of the "Je T'Aime Waltz" ringing in my ears, I was still thinking of Erich von Stroheim's last words and the smile, which included the eyes this time, accompanying them. "My ambition," he said, "is to write and direct. To go on — on, worthy of what my friends believe I can do — mak- ing bigger and better pictures." WIND-IN-THE-WILLOWS By Lydia M. D. O'Neil Wind-in-the- Willows, you stand so tall — Slender and straight as a sapling pine ; Youth's in your footstep, youth's in the call Of your lifted eyes when they meet with mine. Wind-in-the-Willows, the day is glad — Sunny the mesa and gold the sky; What is it fretting me, Indian lad? Search you the heart of me, tell me why! Gold is the sky, but the gold will fade, And youth will pass Tike the fading light, Fretting in vain at the fates that made Your skin so tawny and mine so white. I am one of the dominant race ; I am bound by the dominant law ; But Wind-in-tne-Willows, youth's in your face, And I wonder, I wonder — who'll be your squaw? (trinttyHght) CLASSIC The Movie Encyclopedia (Continued from payc 95) Inquisitive Ann. — Good grief, Frank Mayo and Edna Mayo are no relation. Neither is Woodrow Wilson and Marjoric Wilson, nor the Answer Man and Louis Mann. Naomi Childers is going to play opposite Bert Lytell in "The Blind Man's Eyes." Makion F. — Never been there, but it has been estimated that the Roman Coliseum could accommodate about 87,000 spectators. But dont shout at mc. I cant staud it. Pleasant and kind words, if they be sensible and well meant, are cords that all men may be led by. \Vomen. take the cue. No, Frederick Smith is not past 50— he is about 29, and— period. West Virginia Farnum Fan. — My dear, give the woman credit— they'll always take it. Mrs. William Farnum is non-professional. Earic Williams is with the Western Vita- graph. Dixie Dee.— You can reach Marguerite Clark, Paramount Company, 485 Fifth Ave- nue, New York City. You say you like "Sil- ver Spurs." So do I. Good for you ; stick to it. Of course I'm happy, because I'm busy. CoLLV. — Your letter was a corker. Have .passed your idea along. Yes, it is true that my hours of strenuous work are very long, but I find time for play, to loosen the mental tension and so obtain perfect harmony and recreate power. More power to you also. Inquisitive Harry.— Why, Wally Van will direct the comedies for the Rothapfel films. The Bankhead girl is Goldwyn. You might write to Enid Bennett. Taylor Holmes, he's S feet iVi inches high. You didn't care for "Virtuous Wives" and you thought Anita over- acted and appeared very amateurish in the scene where she bids farewell to her husband as he departs. Witness refuses to answer on the ground that it might tend to incriminate him. Question Mark. — No, Theda Bara is not married. Yes, I am glad spring is here. You bet I have a new spring suit. Yep, a blue one and I look like a bluebird in it. The sprir,i brings a change of air in the studios, v ith dianges in the casts. Change of diet is excel- lent, but change of companionship and a new heart interest are sometimes more rejuvenat- ing than a tonic. Eddie. — Madge Evans is about ten years old. Yes, Sylvia Breamer has beautiful eyes. I always try to rebuke with soft words and hard arguments, and if this does not take. ? try a club, Leonard W. — Send a stamped, addressed en- velope for a list of the film manufacturers and then address the player in care of the com- pany. Sophie E.— Thanks for the thrift stamp. Yes, I understand. Why, the oldest lunatic on record is Time — out of mind. Indeed, I am a musician. I dont like to speak about my talents, but there are those who say that I play the pianola and jcw's-harp without creat- ing any hard feelings. Lauren G. — Glad you subscribed. Hope you'll always be a subscriber. Mary Pick- ford's salary? She's part owner in a com- pany now, and therefore draws dividends. No, just separated. Vernor J.— Never heard of Eva Campbell. Your plan sounds logical, but instead of re- viving the old plan of limiting the wealth of the rich, why not pass a law limiting the pov- ertv of the poor? Doris Kenyon in "Twi- I'K'i*" JiAN F.— Address Theda Bara care of Fox and Carlyle Blackwell care of World, both m New York City. You ask why docs a loaded car run- more easily than an empty one? Be- cause it's the load that makes the car go. Wonderful ! B. V. D. — It's not what you wear so much, for fine feathers are frenuently found on coarse birds. Mme. Petrova has gray-green eyes and a wonderful figure. Yes, Carol Dempster. Handed your letter to the inter- viewer. . . Manila Girl.— No, Wellington Cross is m vaudeville. Goldwyn released Rex Beach's "The Brand." Viola Dana in "Satan Junior," Metro. The old canoe; a redolent, moon- flecked evening; and Us Two! The swish of limpid waters; subdued voices; the sweet intimacy of a moonlit, music-caressed solitude and the seductive harmony of stringed instruments— lilting notes, crashing chords and syncopations. But listen ! It isn't the canoe — nor the moon — nor the water —that thrills your heart. It is the MkjiV,- those lingering melodies of happy hours. 'Tis the same in any setting! Summer's shady nooks; snugly evenings of early Fall; Winter's cheery firesides,— always and everywhere good old GIBSONS furnish that indefinable "something" which eliminates formaUty, makes hearts lighter, eyes brighter, friendships dearer and love sweeter. Yes, — anyone can play a Gibson — "easy to play, easy to pay for" — the ideal instrument for home and companions. It weaves itself into your Hfe and brings pleasures and privi- leges obtainable through no other medium. Gibsons have played a part in hundreds of little romances — confidential human histories— about which we shall be glad to tell you. 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Standard Business Training Institute, Buffalo, H.V. HELP WANTED V. S. GOVERNMENT now needs hundreds, men, women, IB or over. Permanent positions. Pleasant work. llOOO-tllOO flrst year. Quick raise. Short hours. Paid vacation. Common education sufTlclent. Write Imme- diately for free list positions now obtainable. Franklin Xliatltute. Dept. L77, Rochester, N, Y. JEWELRY, SILVERWARE BOUGHT HIGHEST CASH PRICES PAID for Diamonds, Bonds, Old Gold, Crowns, Platinum. Square deal. Cash at once. Goods returnofl at our expense If our offer Is re- fused. Send now. mall or express. I. M. Cohen, 1220 12th St., Washington, D, C. ______ LADIES WANTED LADIES — Do photo coloring, tint postcards, etc. Spare time for profit. Experience unnecessary. We furnish Inslructlona, colors, brushes. Sample designs 10c. Art Photo Coloring Co.. Dept. B, Newport, Ky. MANUSCRIPTS SCENARIOS, MANL'SCRIPTS, all confidential work. professionally put In form and typed. We will orltlolsa your work free of charge. Thomson Literary Bureau, Station F, Box 120, New York, Murray Hill 8836. MISCELLANEOUS yOlJ >VBITE WORDS FOR A BONO— We write the music, publish, and secure a copyright. Submit poems on any subject. The Metropolitan Studios, 814 3, Michigan Avenue, Dept, 141, Chloago, III. WRITE THE WORDS FOB A 8ON0. We revise poems, write music and guarantee to secure publica- tion. Submit poems on any subject. Broadway Studios. 107M. Fltlgerald BIdg.. New York. MOVING PICTURE BUSINESS iSB.OO PROFIT NIGHTLY. Small capital starts you. Outfits sold on Installments. No experience needed. Our machines are used and endorsed by Government Institutions. Catalog free. Atlas Moving Picture Co., 426 Morton BIdg., Chicago. MUSIC "LIFE'S ALL* LOVE" — our beautlfui new waits hit — catchy and tuneful. Postpaid 30o. Harmony Music Oompanv. 63 Thaver Hall, Cambridge. Mass. NEWS CORRESPONDENTS EARN »JS WEEKLY, spare time, writing for news- papers, magaslnes. Experience unnecessary; details free. Press Syndicate, 661 8t, Louis, Mo, _ " ~~ PATENTS PATENTS. Write for Free Illustrated Guide Book. Send model or sketch for free opinion of Its patentabla nature. Highest References. Prompt Attention. Rea- sonable Terms. Victor J. Evans A Co., 621 Ninth, Washington, D, C, PHOTOPLAYWRIGHTS WHITE PHOTOPLAYS 1 »60 to IJOO each for belln- ners. Our free plan tells you how: write for It today. Los Angeles Photoplay Co., 123 N. Broadway, Los An- gelcB, Cal. FREE TO WRITERS — A wonderful little book of money-making hints, suggestions. Ideas; the ABC of successful story and movie play writing. Abiolutaly Free. Just address Authors' Press, Dept, 14, Auburn. H.T. ~ SHORT STORIES IS, poems for new magaijne. "Typed or handwritten MSB. WANTED— Stories, artlclei We pay on acceptance, acceptable. Send MSB. to Woman' sine. Desk 1054. Washington. D. C, National Maga- STORIES. POEMS, PLAYS, ETC., are wanted fcjr publication. Good Ideas bring big money. Submit IBS, or write Literary Bureau, H4, Hannibal, Me. WRrrERSJ Have you a son^;j>oem,_story^ photoplay to sell? Louis, Submit MSB now. Music Sales Co., SONG POEMS WANTED WRITE THE WORDS FOR A SONO, We rsvlM poems, write music and guarantee to secure publloa* tlon. Submit poems on any subject, Broadway StudlOi. 107H, FItsgerald BIdg., New York. DO YOU WANT YOUR SONO POEMS ACCKPTBDt Bend your poems today for best offer. Immediate publi- cation and free examination. Song writing booklet on request. Authors A Composers Service Co., Suite (tS, 1431 Broadway, New York. WRITE THH WORUB FOB A WHO. We revlie roami, compose music for them and guarantee to ssoura publication on royalty basis by New York mutio pub- lisher. Our Chief Composer Is a song-writer of na- tional reputation and has written many big song-hits. Submit poems on any subject. Broadway Studios, 1078 Fltlgerald BIdg.. New York. YOU WRITE WORDS FOR A SONO. We writs the music, publish and secure a copyright. Submit poemi on any subject. The Metropolitan Studios, 814 Bo< Michigan Ave., Room 104. Chicago, 111, , SONG WRITERS WRITE A SONO— Love, mother, home, childhood, patriotic or any subject. 1 compose muslo aad guar- antee publloallon. Send words to-day. Thomas Kerlln, 3(8 Reaper Block, Chicago. MOTION PICTURE; CiiRYSTAL Court, — Sidney Drew and hij.j wife arc in "Once a Mason," released thru: Paramount. Zasii Pitts was not in the cast. Jack Miilliall was born in New York. No, I think once a star long absents herself or him-' self from the screen, they are soon forgotten. Yes, I have read tho.se letters. Wild Kitty. — Sure thing, you're welcome. Doubt whether that player can "come back." However, yeast, the compressed, will rise again. Better not ask me how to beconie a movie star. Your letter was some wild, Kitty, and it sure was rip-roaring comedy, Josephine S. — Too bad! Misfortunes never come singly ; they arc always married. I never sit up late and I advise you to quit it. Late suppers and late hours make men unhealthy, unwealthy, unwise and otherwise. Freckles. — Nothing doing! You must sigii your full name or I dont play. See? QuESTioNARE 14. — YouTS was quite a chatty little letter. Dont be haughty. Haughtincsj lives under the same roof with solitude, Dont pay to be uppish. Yes, I saw that headline, 'Charles Bryant returns to support Mme, Nazimova." We hope he has been supporting her these last years. He's her hubby, you know. Matilda M.— Last I heard o£ Pearl White she was on her way to France. Crane Wil- bur has gone on the stage opposite Marjorie ■ Rambeau in "Eyes of Youth. Pessimists are moral squinters, who. being incapable of a straightforward view, imagine that penetration is evinced by universal mistrust. Get me? M. V. Z. — Madge Kennedy in "Leave It to Susan." Bessie Love with Western Vitagraph, Irving Cummings playing with Ethel Clayton in "Men, Women and Money." Evelyn Nes- bitt in "My Little Sister" for Fox. Sure thing; drop in to see me again. Norma, Butte. — Beaut, or from Butte? Aim Littla played opposite Bill Hart in "Square- Deal Sanderson." Enoch Herbert Crowder, the "Father of the Draft," was born in Mis- souri, graduated from West Point', served in the Philippines and with the Japanese army, was Secretary of State in Cul«. appointed Judge Advocate General, directed an enroll- ment of 24,000,000 men between the ages of 18 and 45 years for military service, and di- rected the registration of 14,000,000 men under an amendment to the selective service law. Some pedigree, eh, what? Yours was pretty long, but I'll excuse you this time, - Dreamer.— Which studio is the most beau- tiful? Haven't been in all of them, so would not venture an opinion. Sorry I cant' help you. Yes, Woods, Shuberts and Selwyn are affiliated with Goldwyn. Wheeler Oakman will play in "The Third Eye" for Pathi. She is West. JuDiE, — You will find "I can tell where my own shoe pinches me, and you must not think to catch old birds with chaff," in Don Quixote. Your letter wasn't as sweet as it might be. You cant catch an old bird with chaff, either, you know. Make the best of everything, think the best of everything, and hope the best for yourself. Harry \lorey was Chris- topher, Maurice Costello was Henry, Betty Blythe was Barbara and Robert Gailfard was Dempsey in "The Man Who Won," released in July. Story was by Cyrus Townsend Brady, Dream Girl. — Yes, Alice Brady is back in pictures. She is married. Dont complain. We did not make the world, but we may mend it. and must live in it. We shall find that it abounds with fools who are too dull to be employed and knaves who are too sharp to have to work. Robin. — You think I am about the size of William Hart, with Douglas Fairbanks' smile and hair like William Farnum! Oh, I'm bet- ter looking than that. You just ought