(lass i N & Book -3 3r5_- G$rigjfafl?- COFTOIGH7 DEPOSIT. Scanned from the collections of The Library of Congress AL DIO-V1SUAL CONSERVATION at The LIBRARY .1/ CONGRESS Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www.loc.gov/rr/record OCTOBER 19Q3 <0 PRICE Q5 CENTS tfi GREENLAND Claire Windsor * 1 r* y Honey raQonV^™Q I KOTGX An Important Part of the Toilette Few new ideas have ever met with such instant approval, such quick success as Kotex. Only three years since its introduction and yet women everywhere know and appreciate this wonderful sanitary pad Kotex forms a new habit, meets most exacting needs, solves a difficult laundry problem. Com- fortable, convenient, soft, light, cool, obtainable everywhere in stores that serve women, and easy to dispose of by following simple directions found in each box. 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If the records do not come up to my expectations, I reserve the right to return them at any time within 10 days and you will refund my money. Note: Mark X here if you also desire Patented Record Album at special price of only 69c, (store price $1.00.) Attractive and durable; holds eight records. Name , J City. .Stale. I VICTORIA THEATRE Bangkok, Siam SCEEENLANB BARKIY THEATRE St. Kilda, Victoria. Australia THE MAGIC NAME IN ENTERTAINMENT THE WORLD OVER YOU whose lives are spent in one locality may have a dim idea of the thousands of other communities keenly enjoying Paramount Pictures at the same moment. You who travel all over the United States have seen for yourselves that Paramount is always mysteriously there ahead of you ! But world-travelers can add still another chapter to the story! They know that FAMOUS PLAYERS ADOLPM ZU Paramount' s fame is blazoned through every continent. It is no surprise to them to see the familiar trademark on theatres in London, Paris, Algiers, Japan, or Australia. In some far eastern communities the name Paramount (perhaps the only English term they know), is a magic word because it means to them just what it means to you — ^ "to-night's the & night for a great LASKY CORPORATION & KOR. Pnes,dent show!" paramount &Lctur&s If it's a Paramount Picture it's the best show in town ! 'C1B 585224 7T Screenland a Magazine of Young Ideas Publisher: Myron Xobel Editor: Frederick James Smith Associate Editor: Anne Austin VOL. VIII Contents for OCTOBER, 1923 No. 1 Claire Windsor (Cover Design) . Rolf Armstrong DCREENLAND GALLERY 11-14, 31-34 FEATURES OF THE MONTH The Romantic Age of the Movies Robert E. Sherwood 15 The .Costume Pictures Develop into an Avalanche Is This Waste? . . . . Helen Starr 17 Fortunes are Annually Wasted Through Ego The Adventures of Photoplay Phyllis John Held, Jr. 20 The Beginning of a Fascinating Cartoon Series Rodolph Valentino and Matrimony Anna Prophater 22 Mrs. Valentino says there is no secret of love The Crepe de Chene Revolution . Helen Lee 26 How the photoplay has changed the taste of America Does Gloria Believe It Herself? Delight Evans 29 Is Miss Swanson just a good business woman? Is the Screen Afraid of Sex . Gladys Hall 36 The Silversheet shuns the facts of sex Bursting Bubbles . . . Mildred Doherty 38 Shattering Illusions Is Hollywood's indoor sport Grand Larceny .... Eunice Marshall 40 Anen t the gentle art of stealing the picture An Outline of Motion Picture Etiquette Delight Evans 44 A humorous discussion upon correct picture behavior The Movies? Absolutely, Mr. Gallagher! Harriette Under hill . .46 The comedians, Gallagher and Shcan, invade the films Hidden Wedding Rings . . Grace Kingsley 49 How Film Weddings are kept secret New Hope for the American Photoplay Constance Palmer Littlefield 62 Victor Seastrong talks of our pictures Stars in Embryo Ted Rupert 70 Screenland's Hollywood artist observes the st extras Fool's Gold Anonymous 79 Further chapters of the Extra Girl's Diary DEPARTMENTS The Screen Year in Review Frederick James Smith 52 A complete analysis of the film season And Yet They Censor the Movies .... 56 Photographic glimpses of the Stage Flits Our Own News Reei - ... 53 The film news told in pictures Autumn and Milady's Fashions .... 64 The newest fashions of the picture stars The Listening Post Eunice Marshall and Constance Palmer Littlfield 72 The gossip of Hollywood and New York Published Monthly by ScrUUnland, Inc. (A Delaware Corporation) at Cooperstown, N. Y., U. S. A, Copyright, T923! ""Trade- Mark registered. Single copies 25 cents; Subscription price, United States and Canada $2.50 a year; Foreign $150. Entry as second-class matter applied for at the Post Office at Cooperstown, N. Y. Formerly entered as second-class matter, August 27, 1920, at the Post-Office at Los Angeles, Cal., under the act of March 3, 1879; entered on April 15, 1922, at the Post-Office at San Francisco, Cal. Permission to reprint material must be secured from the Thompson Feature Syndicate, 45 West 16th St.. New York City. General Executive and Editorial Offices at 119 West 40th Street, New York, N. Y. Western Advertising Office Young & Ward, 168 North Michigan Blvd., Chicago, Illinois. Publishers also of Real Life Stories. Subscription price, United States and Canada, $2.50 a year; single copies, 25 cents. Club rate, the two magazines, $4.00 a year; Foreign, $6.00. Screen- land Magazine out the first of every month; Real Life Stories out the fifteenth. SCEEENLAN© Announcing A NEW MAGAZINE Screenland, Inc., publishers of Screenland Mag- azine, announce the first issue of a new national magazine— REAL LIFE STORIES. A high and worthy purpose actuates the publishers in their new venture. The new magazine, we believe, is destined to be a very real and helpful force in the lives of its readers. It is to be a Book of Life. Every story will be a heart story, a living, throbbing slice of Life. Our book will be written by our readers, out of the fullness and richness of their own experiences. The tawdry, the cheap, the flimsy, the unreal will have no place in REAL LIFE STORIES. But every phase of real life as it is lived in these good, old wholesome United States of America will be mirrored there. The First Issue From the very first number, we want you to feel its excellence, its sincerity, its dignity of purpose, and its absorbing in- terest. Here are only a few of the titles, but they will give you a glimpse into the new book, sufficient, we are sure, to intrigue your interest : Mad Youth The poignant story of a child-wife, bored with the monotony of the farm and with her silent, good husband, steps blindly out upon the primrose path with a charming vagabond poet, who feeds her on lyrics and "tramps" the lovely countryside with her in a rattling Ford, until — Strange Seas Not all show-girls are tarnished gold; not all well-bred men arc chivalrous; but some show-girls are pure and many "gentlemen" are cads, according to the bitter experience of a soubrette who steps down from the stage into marriage and grief. And the Gods Laughed An O. Henry bit of brilliant satire upon a stage woman's craving for domesticity, told by a newspaper reporter who inter- views her. The Dangerous Age Every man of forty-five who has been serenely married for years meets a Rosa- lind ; and every Rosalind who works for a living meets her "Judge Thompson" sooner or later. The Brick Wall All the delicate wistfulness of the sor- row-ravaged face of her who wrote this story is here for you to see, together with a poetic quality which we had believed to be stifled with grief. Free Love "I have heard a hundred variations of the gospel of free love, and every one of them from some man who wanted to pos- sess me — temporarily — and to salve his con- science," said a self-sufficient and charming young business woman. "But I know a girl who beat the 'free love' game, and I believe she'll write her story for you." We found her in the little Western city where she now lives happily, and asked her to write the story — and she did. The Poppy Plant The story of a dead soldier's interven- tion between his worthless wife and his own brother — a "come back" by way of a poppy plant and an opium pipe. Watch for the first issue — fifteen splen- didly told stories out of the lives of real men and women. On all news stands Sept. 15 — — 25 cents the copy STUDIOS and ADDRESSES Astra Studios Glendale, Calif. Balboa Studio East Long Beach, Calif. Berwilla Studios 5821 Santa Monica Blvd., Hollywood Century Film Corp. 6100 Sunset Blvd., Hollywood Chas. Chaplin Studios .. La Brae Ave., Hollywood Christie Comedies .. 6101 Sunset Blvd., Hollywood Irvings Cummings Prod. 1729 Highland Ave., Hollywood Doubleday Productions Sunset & Bronson Ave., Hollywood Ferdinand Earle Productions Hollywood Studios, Hollywood Wm. Fox West Coast Studios 1417 N. Western Ave., Hollywood Fine Arts Studio.. 4500 Sunset Blvd., Hollywood J. L- Frothingham Prod. United Studios, Hollywood Garson Studios. ... 1845 Glendale Blvd., Glendale Goldwyn Studio.... .Culver City Great Western Producing Co. 6100 Sunset Blvd., Hollywood Thos. H. Ince Productions.... Culver City Lasky Studios. ... 1520 Vine Street, Los Angeles Louis B. Mayer Studios v 3800 Mission Road, Los Angeles Metro Studio Romaine and Cahuenga Ave., Hollywood Morosco Productions 3800 Mission Road, Los Angeles Bud Osborne Productions 6514 Romaine Street, Hollywood Pacific Studios Corp San Mateo, Calif. Pickford-Fairbanks Studio Santa Monica Blvd., Hollywood Pacific Film Co Culver City Principal Pictures. ... United Studios, Hollywood R. D. Film Corp. ... Balboa Studios, Long Beach Chas. Ray Studios Hollywood, Cal. Realart Studio... 201 N. Occidental, Los Angeles Robertson-Cole Productions Melrose and Gower, Hollywood Russell-Griever-Russell 6070 Sunset Blvd., Hollywood Hal E. Roach Studio Culver City Morris R. Schlank Productions 6050 Sunset, Hollywood Jos. Schenck .Prod.. .United Studios, Hollywood Schulberg Productions 3800 Mission Road,- Los Angeles Sennett Studios Edendale, Los Angeles Selig-Rork 3800 Mission Road, Los Angeles Universal Studio Universal City, Calif. King Vidor Prod Inee Studios, Culver City Vitagraph Studio. . . .1708 Talmadge, Los Angeles Warner Bros. Studios Sunset & Bronson, Hollywood Ben Wilson Productions Berwilla Studios, East Long Beach, Calif. EASTERN STUDIOS Biograph Studios 807 East 175th St., N. Y. C. Blackston Studios Brooklyn, N. Y. Estee Studios .124 West 125th St., N. Y. C. Famous Players' Studios .... Astoria, L. I., N. Y. Fox Studios West 55th St., N. Y. C. D. W. Griffith Studios Mamaroneck, N. Y. International Film 2478 2nd Ave., N. Y. C. Harry Levy Prod 230 West 38th St., N. Y. C. Lincoln Studio Grantwood, N.J. Mirror Studios Glendale, Long Island, N. Y. Pathe 1900 Park Avenue, N. Y. C. Selznick Studios Fort Lee, N.J. Talmadge Studios 318 East 48th St., N. Y. C. Vitagraph Studios. . East 15th St., Brooklyn, N.Y. GLORIA SWANSON By William Eglinton SCREENILAN© 15 Romantic Age in the M ovies By Robert E. Sherwood Drawings by Everett Shinn d^The Costume Pictures are a Terrible Blow to the Hollywood Barbers — but the Vencing In- structors are Growing Yat. very human being who is deposited on this earth, for one reason or another, passes through two stages before he (or, as it frequently happens,' she) attains full growth. The first stage is Infancy. The second is known as "the romantic age." The symptoms of the romantic age in the female of the species are these : Reading and writing poetry. Pasting pictures of Ramon Navarro on the mirror. Gazing at the moon. Wishing that the days of chivalry would come back. Writing fan letters to handsome actors. Posing for photographs with a rose held between the teeth. Practising Greek dances on the lawn. The symptoms evinced by the male element are almost parallel : Stars, once content with sport shirts and evening dress, are now going in for jerkins, suits of armour, doublets and other antiquated articles of regalia. Reading the novels of Scott, Henty, Dumas and other writers of historical fiction. Gazing at the moon. Trying to cultivate a small, silky mus- tache and a pair of side-burns. Writing fan letters to comely ingenues. Posing for photographs with Bill Hart expression of calm determination. Practising tenor solos. None of these symptoms are serious or incurable. In- deed, they are all part of the natural course of events. 16 SCREENLANB Richard Barfhehness, whose chief charm has been his homely Ameri- canism stepped forth in the finery of another day in "The Bright Shawl,' that flashing affair of the brave days of 1850. T, Hozv "Passion" Started It he romantic age on the screen started on a chill December after- noon in 1920, at the Capital Theatre on the desert isle of Manhattan. The occasion was the first film to ; be imported from Germany since the invasion of Belgium in 1914. The picture was "Passion" — a cos- tume drama if there ever was one. When Passion — or Du Barry, as it was originally called — reached the unfriendly shores of these United States, it confronted a situation difficult enough to scare off the most determined invader. As the shortage of bananas had not become acute at that time, the popular song of the moment was, "Yes, We Want No Costume Pictures." Romantic dramas, said the wise- ones of the movie industry, were as out of date as yesterday's shave. Any producer who dared to suggest that he would like to make a pic- ture with scenes laid in the good old days of 1911 — or previous — was told to buy a one way ticket to Samoa and take time to think it Now Comes the Romantic Age 1 iif. fact that the movies are fundamentally human is proven by their career. They passed through an infancy that was as celebrated and profitable as their own Jackie Coogans, and as long as Mary Miles Minter's; now they have entered upon the romantic age Today, the screen is all littered up with love (in the old fashioned sense of the word.) Stars who, four years ago, were content to appear in immaculate evening dress, sport shirts or natty cowboy togs are now going in for jerkins, suits of armor, doublets, crinolines and other antiquated arti- cles of regalia. Villains who once were willing: to be killed with blank cartridges, are now being punctured with lances, rapiers and dirks Fencing instructors in Los Angeles and vicinity are growing opulent and fat. Chins that were once as smooth as an oil stock promoter are now hidden behind Van Dyke beards. The Hollywood barbers are starving. It -is indeed a strange situation, in a world that is suffic- iently strange to begin with. How, you may ask (and probably won't), did it all happen? The film rights to old novels were in the same dormant condition with the proverbial Ford Serv- ice Station in Jerusalem. Shaking Off the Cocoon Jr assion", however, surprised everyone (including its sponsors) by making a big hit It was bought on a basis of German marks, but it was sold to the local public for 100 per cent. American dollars. Moreover, it made a profound impression on the Holly- wood aristocracy. Movie people decided that they would like to direct like Ernst Lubitsch and act like Pola Negri. When that idea had been firmly implanted in their minds, the silent drama started to shake off the cocoon that hac. stifled it and emerged from its infancy. The results of this tremendous upheaval have been startling. Aside from these incidental aspects of the situation that I have mentioned above — -the opulent fencing masters, the im- poverished barbers, etc. — there have been many revolution- ary changes on the screen. What is more, the public has accepted them. Following Passion and its Teutonic brethren — Decep- tion, Gipsy Blood, All for a (Continued on Page 84) SCMEENLAN© 17 {^Hundreds of Thousands of Dollars Are Annually Thrown Away in Victims because of Ignorance, Van- ity and Wilfulness. is THIS WASTE? By HELEN STARR JPorrest Halsey, the playwright, wrote a story with a motion picture angle. He offered it to a big film producer, who put a ridiculously low price on it. "Originals, they are no goot," said the big producer. "But your name, it might sell it. How about fife hunderd dollars, nicht ?" "Nicht," said Halsey decidedly, and put his story on the shelf. A month later he wrote a play around the plot, and secured a brief Broadway run for it. But after that it faltered and died, as so many Broadway plays do, and the storehouse received it. But an agent, who knew the psychological processes of big film producers, asked to be allowed to sell screen rights for the play. He named a figure he could get for it — twenty times what the first offer had been. Halsey laughed at him but told him to go ahead. One shot of the fantastic set shozving the ancient city of Bag- dad, built for Douglas Fairbank's new photoplay, "The Thief of Bagdad." One and a half acres of concrete forms the basis of the structure. Within thirty days the agent came to Halsey and asked if he would accept a check for $20,000 for the screen rights to his story. The offer was from the same producer who had originally offered him $500. When Halsey came out of his delirium, he accepted on the spot. The reason for the enormous increase? Simply that the scenario was no longer an "original"; it had had a stage showing. And although the publicity value as far as the country as a whole is concerned to the producer was worth about a thin dime, yet he was impressed by it to the tune of $20,000. Cecil de Mille about to "shoot" the spectacular charge of 250 chariots and 500 horsemen across the Mojavc desert in California for his "The Ten Commandments." 18 SCREENLANB The high pylon of Pharaoh's palace, designed for Cecil de . Mille's "The Ten Command- ments," in course of construction. When finished it was a hundred feet high and a thousand feet long. What of Cecil de Mille? ill failure face Cecil de Mille's The Ten Commandments, now being clone so luxuriously in California that it may eventually cause the famous director to change his studio base of operations ? That remains to be seen. Any- way, de Mille is spending a fortune. Will Doug Fairbanks' The Thief of Bagdad be a superb adventure or a financial winner ? Anyway Doug has gone ahead to build the ancient city of the Thousand and One Nights adventures as he fancies it — without regard for cost. What of the dozen or so other big "specials," already completed or under way ? Is this waste? A Wasteful Business T ins typical incident is only one reason for the colossal wastefulness of picture producing. In no business in the world is the overhead so tremendous and the wastefulness so wanton — except perhaps in our government at Wash- ington. It's an amazing business ! Hundreds of thousands of dol- The same setting as shown lars are thrown above — in its completed away annually in \%]n <*>ld « it appears in the making of J,hc Ten Commandments.'; I he royal procession is motion pictures. ahout fo es& SCIREENLAND 19 Thrown away, be- cause of the ignor- ance of a producer, or the vanity of a director, or the wil- fulness of a star. And, sometimes, thrown away because of situations that could never be foreseen and are undoubtedly caused by the malig- nance of Satan him- self. Any director will swear to the last statement. A certain street in Hollywood has cost the Fox studio thou- sands of dollars. The Fox studio rambles along on either side of Western Ave- nue— the dramatic lot on one side and the comedy lot on the other. Every day, lumber and "props" and lights have to be carted across the street, laboriously engineered over the heavy flow of traffic. When the studio was built, West- ern Avenue was a little-frequented street. Nobody foresaw that it would become the artery of traffic that it now is. Nobody foresaw that so much time — and time is money in picture-making — would be wasted, just in crossing that street. Fox has purchased 450 acres of land out in Westwood, midway between Hollywood and the ocean, for a new Another glimpse of the old city of Bagdad as Doug Fairbanks has re-created it. studio. The Fox heads figure that it is cheaper for them to buy new land and move their huge plant, than to continue • carting materials over expensive Western Avenue. And the new studio will not be separated by any public thoroughfare ! The studio will have its own private lake and its own railroad track. It is tired of paying from $50 to $100 an hour to the railroads, for the privilege of using their trains for a few shots. Now some retired, decrepit engineer will run one ancient locomotive up and down a studio track and enjoy the comfort of his pension days. T: Real Jcxvcls for Atmosphere he passion for realism has carried many a director to lengths that gave his producer acute agony in the region of the pocket nerve. Consider the director who hired some $400,000 worth of diamonds from Tiffany for a ball-room scene at an exorbitant rental, when the five-and-ten cent store variety screen exactly as well. Consider, too. the directors who "write in" location trips in the quest for pleasure. Locations cost money. To move a whole company of actors, technical people and live stock counts up tremendously. One shudders to contemplate the cost of the location trips entailed in The Covered Wagon — but in that case the cost was certainly justified by the results. More and more, however, directors are passing up locations in favor of studio sets — or rather, the cost experts are doing it for them. Studio carpenters and "prop" men are becoming so clever that they can manufacture a desert that looks more like From this platform Cecil dc Mille has been directing 2500 players. V o u will note him in goggles and veils as protection against flying sand. (For the scenes were shot on the 300 square miles of barren dunes in North California. This cost $30,000 a day.) desert than the Sahara does. In fact, not so long ago, a director out on location in Ari- zona wired his boss, "Coming home to- morrow. Better western atmosphere on the back lot." Cont'd on page 82 20 SCREENLANQ ' 22 SCREENLANB BALL Natacha Ramhova Valentino believes that an over-em- phasis of the Valentino personality has blinded the public to the fact that Valentino can act. And so her whole fight — and his fight — has been against "Sheik stuff." SCEEENLANB 23 C Mrs. Valentino says there is no secret of love and matri- mony—and that Rudy's Him personality is a false one. Rodolph Valentino and Marriage By Anna Vrophater en Rodolph Valentino married Winifred Hudnut, the opinion of nine-tenths of the women in the United States was that she was the luckiest girl in the world. The opinion of the submerged one-tenth was that she might have done better had she married the Prince of Wales. And the unanimous opinion of the men who had seen the Valentino craze break hearts, homes and engagements was that the marriage wouldn't last two months. For every- one with any common sense knows that a crazy, dancing foreigner is a bad choice for a husband and that a girl who calls herself Nat- acha Rambova and goes in for Rus- sian dancing does- n't measure up to the requirements jf the ideal wife. Just a couple of crazy love Bol- sheviks, that's all. Still Laugh at Each Other's Jokes other's jokes. The first sign of domestic trouble comes when the husband springs a good one and the wife merely answers with a dirty look. The Valentinos haven't come to that. Of course, just because a movie star and his wife have lived together more than a year in peace is no sign that they will be celebrating their golden wedding. But you ought to give them credit for breaking all records established by the Upper Park Avenue set where marriage doesn't last as long as the lease on the apartment. Contrary to feminine opinion, Mrs. Valentino was not ELLj the Val- entinos have been married nearly two years, New York time almost a California and they laugh at and year, time still each Natacha Rambova Valentino is en- grossed in her hus- band's success and his ambitions. Like Mary Pickford, she is the Disraeli, the Colonel House and the Charles Evan Hughes of the household. BALL 24 SCMEENLAN0 • the luckiest girl in the world. Would you consider yourself the luckiest girl in the world if you married a man who owed $80,000? Would you think you were in for a life of bliss if your husband had no position and stood small chance of getting a position for several years? Would you think you stood on the top of the world if your husband were dragged from the honeymoon to answer a charge of bigamy? No, you wouldn't. Very likely you would go home to father and the certainty of three meals a day. Mrs. Valentino, naturally enough, won't admit that she wasn't the luckiest girl in the world. But she will admit that the first months of their married life weren't all moon- light and roses. For. moonlight please substitute the un- becoming glare of publicity and for roses please substi- her husband thinks she is the Whole Works. Too Sophisticated to Talk of Love "If Rodolph had simply been an attractive man with a certain charm for women, it would have been easy to re- place him," says Mrs. Valentino, "But it hasn't been so easy to find an- other Valentino, has it?" tute legal papers. But it's all over now. In her apartment at the Hotel des Artistes, Mrs. Valentino pre- pared for a trip to France and Italy. An- other honeymoon ? No, just a vacation. It will be a rest from the long, dreary and lonesome months spent on the dancing tour. An Unusual Sort of Movie Wife T HERE ARE all SOrtS of movie wives. There are the frivolous ones who step out, there are the home-loving ones who do the mending, there are the wives with ca- reers of their own and there are the wives with influence. Mrs. Valentino is one of the few wives with influence. She re- minds you of Mary Pickford. She talks business in a sane, cool-headed way. She is engrossed in her husband's success and his ambitions. Like Mary Pickford, she is the Disraeli, the Colonel House and the Charles Evans Hughes of the house- hold. And, naturally, rs. Valentino is much too sophisticated to talk about love and marriage. She won't give you any rule about How to Hold a Husband. She knows that if there were an infallible method the secret would be worth a million dollars. Too much publicity about her marriage has made her sensitive and shy about talking about her romance. She believes that an over-emphasis of the Valentino personality has blinded the public to the fact that Valentino can act. And so her whole fight — and his (Continued on page 96) SCREENLAN© 25 With reports of her divorce rumored and denied and rumored again, Irene Castle has just returned from France. The two pictures on this page were "shot" on the famous beach at Deau- ville. They reveal a differ- ent glimpse of "the best dressed woman in the world." WIDE WORLD From Y^eauville To Island In contrast to Miss Castle's Deauville costume is Alice Brady's bathing suit and soft coat for strolling along the beach. The picture W'as made beside Miss Brady's own pool in the garden of her Long Island home. WIDE WORLD © UNDERWOOD AND , UNDERWOOD SCREENLAND HES SER B ack in the days when we were young and in- nocent and never went to the movies, all little girls and boys thought that an envelope was something you sent a letter in and that a combination was a salad made of cucumbers and tomatoes. Also it was polite to refer to lingerie as "unmen- tionables," although, strictly speaking, it should have been "unpronounceables." It was generally conceded that you couldn't beat a good, high-necked and long-sleeved flannelette nightgown for durability and warmth. You were also supposed to be risking a bad case of pneumonia or a severe attack of quinsy sorethroat when you ventured forth in less than two flannel petticoats. Nightgowns or petticoats with ribbons on them were thought to be an infallible sign of a wayward dis- position and a tendency for the primrose path. The first daring pioneers who ventured into pink crepe de chine were terribly talked about when the neighbors sighted the filmy garments on the clothesline. Clergymen were immediately reminded of the Fall of Rome. Nowadays the girls who wears pink crepe de chine is considered just too naive and unsophisticated for words. Gloria and the Flannelette Market IB ut, so far, no viewer -with-alarm has yet blamed the movies for the terrible slump in the flannelette e Q:epe de chene •/ /evolution L By Helen Lee Black negligee is piquant — and as worn by Murray, at the left, is more propa- for crepe de chene. The young lady below is Peggy Shaw. SCREENLAN© 27 , The Vhotoplay has changed the taste of America in what our pre- movie land once called "unmen- tionables" market. And yet one flannelette factory after another has gone out of business. Everytime Gloria Swanson appears in a new picture, the mar- ket price of flannel- ette drops ten points and the price of Geor- ette crepe and chiffon soars to the skies. Such is the terrible georgette menace of the screen that out in Minnesota where the thermometer falls to thirty degrees below in Winter, the girls wear the local imita- tions of the same gar- ments paraded in sunny California by our neatest film si- rens. If Bebe Dan- iels and Corinne Grif- fith say it is to be black chiffon, black chiffon it is back on the farm, even though father freezes his ears and the water gets solid in the pump. On the screen, of hesser course, the stars wear lovely lingerie in the interest of art. How else, in fact, are you going to portray ladies with chiffon souls? If the scenario writer demands that you be a daughter of the idle rich, how better to register luxury than by a bit of lingerie that won't stand the strain of the old family washboard. Ex Rainboiv Lingerie experts agree that pink lingerie is only worn by women with no imagination. A trip through the studios when the boudoir sets are disclosed to sight-seers proves that the lingerie of the stars comes in all the colors of the rainbow. Gloria Swanson, for in- stance, has darkish red hair and green-gray-blue eyes. On or off the screen she seldom wears emphatic shades; she likes pastel hues. When it comes to lingerie her favorite colors are green and pale yel- Ct. Every time Gloria Swanson appears in a new picture, the market price of flannelette drops 10 points. ©, Posing in your underwear has become one of our quaint native costumes. Soft white is more disastrous than black jet. Mae Murray is probably the best exponent of neg- ligee on the screen. Miss Murray has car- ried her propaganda against red flannel to the far corners of America. low, set off by black or white. Do you remember the negli- gee in The Gilded Cage? Of course you do, even if you have forgotten the plot of the picture. It was green chiffon with an over-drapery of black lace worn over georgette lingerie. Or do you remember the still more dashing lingerie in His American Wife? It consisted of black chiffon, with sleeves two yards wide. And there was an- other negligee of pale citron yellow, embroidered with white beads and trimmed with ermine tails. Try that at home on your sewing machine. In Bluebeard's E i g h t h Wife, Gloria will launch th ■ winter underwear season. She will show you the correct styles to replace the long-sleeved union suit and the high-necked nightie. There is for instance, a black chiffon and yellow ( Continued on page 92 ) 28 SCEEENLANB SCREENLAND 29 ^Behind her Benda Mask, k Mm Swanson jus! a good bminess woman from the middle-wesl ? C (J^ Gloria Swanson wears an amazing wig in Zaza. Every- one protested about it — but Gloria liked it. Hadn't she been told, by Elinor Glyn and others, that she is reminis- cent of Sarah Bernhardt f DOES Gloria Relieve It Herself? 'AN a girl be herself with the world looking on? How can a screen star be sure she isn't kidding herself as well as her audience? When, in other words, to get right down to cases, does Gloria Swanson stop doing her stuff and begin being Gloria? The answers to these questions will not be found here. The Swanson Clubs of the coun- try might hold a national convention and decide it once and for all, except that it's really imma- terial to them as long as Gloria wears a new coiffure in every picture. So far, Miss Swanson has risen to the occa- sion. And in Zaza she does it again. Accord- ing to the records, Zaza was French, and as far as we know, never wintered in the Fijis. With superb disregard, Gloria, or Gloria's hair- dresser, has given Zaza, for some of her big scenes, a wondrous wig with a sparkling spangle suspended from each curl. Nazimova wore some- thing like it in "Salome." It's an Aubrey Beards- ley nightmare. Gloria glittered — diamond "Z's" around her neck, "Z's" in spangles on her arms, "Z" patches on chin and cheeks. There were no two ways about it — she was playing Zaza. (1^ Gloria and her des- tined - to - be - cele- brated wig, as they appear in Zaza j 0 p p o sit e H. B. Warner. By T^elight Evans "I believe the modem flapper is more wholesome than her mother or grandmother," says Gloria. "The things they longed to do and dared not, she does naturally. She is herself." Hozv Zaza's Head- Dress Developed E/uxor Glyx was not to blame for the head-dress. Neither was Sam Wood, who used to direct Gloria. Maestro Wood told Mary Eaton, who lately glorified the Follies and is at pres- ent illuminating Para- mount's Long Island City factory, and .Mary Eaton told me, that he couldn't see that head-dress at all. dloria liked it. Her ed mouth curled 'around her little pointed teeth. She lias been told, by Glyn and others, that she SCIREENLANID) is reminiscent of Sarah Bernhardt. Especially when she throws her head back. It was one of those massive Allan Dwan sets. Ever since "Robin Hood," Mr. Dwan has been doing things in the grand manner. "Zaza" apparently held forth in settings that would have pleased, in point of size, a medi- eval monarch. Background of Follies Girls Lc /ovely young things, presumably from the New Amsterdam, stood about waiting to be called. Gloria, ensconced in the stellar chair, was surrounded by visitors — Fay Bainter, from the stage; a South American official's spouse, breathing rather heavily ; miscellaneous admir- ers. Hands on hips, La Swanson rose and confronted Madame from Buenos Aires — or was it Chile? Gloria has no vague voice. It is snappy Chicago-ese, untroubled by acquired inflec- tions. Madame's daughter wished to go into the movies. Her father wouldn't hear of it. But — "Oh, mother," pleaded daughter, "please let me try." "That," nodded Gloria, "is just what I said to my mother." "Really," cried the relieved lady, "isn't that wonderful ?" The substantial South American's permanent rave was kindly but firmly succeeded by an Ohio censor. Zaza had little, in common with him. I am sure it was not his fault. (Continued on page T04) One of the Parisian back stage scenes of Miss Swanson's "Zaza." REX. INGRAM BY Alfred Cheney Johnston SCEEENLAN© 3f f J_ rom A. M, o P. M. IN HOLLYWOOD Morning 6:00 6:30 7:00 7:01 7:15 8:00 8:30 9:00 9:15 9:30 9:45 10:00 12:00 12:05 12:06 12:30 1:00 1:15 1:16 1 :30 5,782 extra players awaken. Milk-wagon horse refuses to climb Whitley Heights. 192 directors awaken. 191 directors go back to sleep again. 349 alarm clocks serenade 349 assistant directors. 1,831 extras report for work. 42 stars stir in their feather beds. . Goldwyn gatekeeper checks in . Abie Lehr. First automobile accident of day. First actor shows up, at Armstrong's restaurant. Lasky office boy is sent in search of Pola Negri. June Mathis and Frances Marion complete first scenario of day. 10:30 10:50 10:59 11:00 11 :02 11.15 11:30 11 :45 Noon 3,678 pies ordered at Universal lunch counter. Party of tourists from Clinton, Iowa, arrives in Ford and inquires way to nearest studio. Lasky director sent in search of Pola Negri. 27 actors at Goldwyn studio ask Murphy to charge the lunch. 12:31 12:35 Afternoon 31 35 50 1:55 1 :57 2:00 2:15 55 actors at Armstrong's sign the luncheon checks. All male members of Writers' Club adjourn for game of pool. Women scenario writers return to work. 127 ex-plumbers sign up at a motion picture talent bureau. Government reports labor shortage. Another "second Valentino" is given the air. Street railway inspector notes uncrowded cars reach- ing business district. Street railway corporation cuts down number of cars 11 per cent. Second hand Ford dealer sells 175th car of day. Lasky studio manager sent in search of Pola Negri. Cecil B. De Mille shoots first scene of day. 2:30 2:45 3:00 3:05 3:15 3:30 3:31 3:33 3:34 3:35 3:36 4:00 4:15 4:30 47 excursion buses leave for new real estate tracts with- 759 passengers and 8 prospective buyers. 25 sight-seeing buses leave for "free trip to the oil fields" with 45 stock salesmen. Weary bootleggers start on their rounds. Lasky assistant director is sent in search of Pola Negri. Goldwyn gatekeeper checks in Mickey Neilan. All film executives reported "in conference." Title writer, who has been thinking all morning writes "Came Dawn." First hot dog sold at Venice. Young girl from Clinton, Iowa, thinks she sees real actor and faints dead away. First section Overland train pulls in with 423 home- seekers, 18 travelling salesmen, 6 imported Eng- lish authors, 71 writers assigned to "cover"' Hollywood boulevard and 3 Calif ornians. Carl Laemmle decides to spend another million. 78 divorce decrees granted. 77 more marriages. Bootlegger admitted to exclusive country club. Jesse L. Lasky starts in search of Pola Negri. Ambulance rushes down Boulevard. Excitement. Automobile with movie camera follows. More ex- citement. Crowd gathers. Police reserves arrive. Automobile accident. Crowd disperses. Six movie ingenues adjourn for ice cream soda. Pola Negri reports for work. Pola Negri quits work. {Continued on page 99) 37 THE SCREEN AFRAID OF SEX? By Gladys Hall W hy is the screen afraid of ironic We put the question naively. Laughter. Mocking, magnificent and laughter. Petrova speaks with the poniard of irony. When she writes she dips her pen into vitriol and veracity. When she laughs the heathen gods awake and shudder and the powers of dark- ness slink away, their tails between their legs. Traditions Do Xot Shackle Petrova S he is brilliant, ruthless and relentless. Bogies jump at her from sentimentally shadowy corners, buper stitions do not shackle her nor traditions hamper her. We said again, more timorously, '"Why is the screen afraid of sex ?" "IS it?" she asked. More laughter. And before our mind's eye came scenes from here and there which must have sent the youths and maidens of the great towns and small hell-bent for the park benches. "Still," we protested feebly, "there's less of it now than there used to be in the flaming films gone by." Which same Madame admitted. do Si not The High Point of Sex i( A a*. H, that is probably true" she said, "some time ago I saw a very well-known picture made by a famous director, who shall be name- less in the interests of discretion. In that picture a scene occurred the fl^The photoplay shuns the facts of sex and whets the appetites of curiosity mon- gers with fiction of sex. says Mme. Petrova. "There are two ways of looking at sex," mukay says Mme. Petrova. ''One person will say Sex and will mean innuendo and sensuality. Another person will say Sex and will mean frankly what he says." equal of which for sheer ribaldry I have neither seen or heard of since. At that time I said to my companion in the theatre. 'This is the high point of sex on the screen. They can go no farther.' It has evidently proved to be so "Possibly a reaction has set in. I do not see very many pictures and therefore cannot constitute myself as an in- fallible judge, but it is quite likely that there has been a reaction and that with this re- action the screen will revert to putting skirts on the piano legs and valances of lace and tulle upon the nude statuettes. Afraid of the Reality of Sex JL he screen" is. however, afraid of the reality of sex. It will tear rents in the skirts covering the piano legs, but will not remove them. Re- sult : an urgent and persistent curi- osity regarding these factual and not always lovely objects." (Con't. p. 103) SCEEENLANB {^Shattering Illu- sions About Our Dear Stars is Hollywood's- Favorite Indoor Sport. H, .ollywood hasn't any Follies, nor a Woolworth Building. Ethel Barrymore wouldn't shed a tear if she never saw the City of Angels again. Third, and even fourth musi- cal comedy companies try their piti- ful best to please at the Mason Op'ry House. And they do say it takes a year for a style to travel from Fifth Avenue, east, to Seventh Street, west. But— And it is around that "but" that Hollywood carols gleefully. For, my dears, Hollywood boasts that it is THE film capital. Its secrets are as safe with us as with a broadcasting station. Hollywood inhabitants are the only and original star-leggers — willing to exchange 'em for any illusions you may have. Imagine saving all year for one look at that storied place, Hollywood ! And then — You are the envy of all Duluth when you announce your plans. You are actually going to see Gloria Swan- son — for didn't Fan Fare show pic- tures of her strolling down Holly- wood Boulevard, buying the evening pork chops, and trundling Gloria II ? Perhaps Charley Chaplin will ask you for a match ! The carefully buttered publicity has been carefully digested in your town, however. You know, for instance, that some of the stars aren't a bit better looking than the local gals. And you have been warned that all that moves is not movies. But — again that volume-speaking "but" — that isn't the fourth of it. All Hollywood, and your friends in particular, are only too eager to play that tireless game "un-hokum- ing Hollywood" for you. "D o y o u use rouge?" the inter- viewer asked Miss Ayres. "W h y paint the lily?" re- sponded Agnes. SCREENLAN© 39 /JURSTING UBBLES By Mildred Y^oherty You get off the Santa Fe Limited, with your handbag and your happy illusions. You leave, a withered wretch, minus all the illusions you brought and a few you didn't know you had. Hollywood, thy name is Heartbreak ! The Old Hokum! «T JLsn't Viola Dana too lovely for words? And that won-der-ful Bill Hart !" you exclaim. "Cowbells !" choruses Hollywood. "And, oh, please, could I see naughty Barbara La Marr in a dope den or something ? Just slumming — " apologetically. "Apple sauce!" the chorus barks. And so they go — out of the ardent fire of your imagi- nation, into the frying pan of heartless Hollywood — all your little illusions. Believe me, they are panned, all right. The old cardiac regions get the greatest knock-out when the open secret of Hollywood is told within this orange- walled city. Rudy Won't Vamp. V. alentino is no lover ! There ! What's more — Rudy hates the very word sheik. An ex-Metro star is said to have given Rudy a broken wheel made of lilies after a beach party with him. That was before either of his marriages, of course. A week and you are in the know. You can write home with suavity about Claire Windsor's wig, and Larry Semon's doubles. Then There's Alice Terry's Hair k.LiCE Terry's hair is really brown-black, as any blase citizen can tell you. A disappointment ? At that, Alice is twice as sensitive about her ankles as her hair. Another Broken Blossom K atherine McDonald, the favorite of Former President Wilson, Former Husband Malcolm Strauss, and Current Husband Charles Johnson, is another broken blossom when it comes to living up to her publicity. Let me hasten to explain — not in the line of beauty. She's really lovely. But about those wondrous advertisements, claiming she got that way by using X's cold cream, Y's powder, and Z's corn cure. Alice Terry wears a zvig — even in private life. This, hozvcver, is the zvig she adorns in "Scaramouchc" Katherine is a Scotswoman, who scorns expensive emol- lients and perfumes, and goes in for a certain five cent brand of soap, and plenty of city water. She has a marcel only when the script calls for one, but then she gets only $50,000 a picture. When Katherine dies she can tell St. Peter the last num- ber in her savings. Lc Louise is Comely and Clever /ouise Fazenda has disappointed many a hopeful tourist. The uncooked truth is that Louise is a comely young lady who reads D. H. Lawrence, and rides in limousines, keeping the broken shoes and the wheerbarrow only for celluloid gymnastics. I know of one hopeful lady interviewer who came to Hollywood, determined not to have her cherished fancies about her favorites squelched. The Film Intelligentsia ]H[er first interview was with Agnes Ayres. It had been bruited about that Agnes had (Continued on page 95) SCMEENLAND "He Stole thePicture!" is the one Glorious Phrase in all Screen- dom — FamousThefts from Charles Ray to Ernest Torrence. T iL hese are dark days for the Arrow school of actors and the seminary of golden curled actresses. The character player is darkening their doorsteps with a vengeance. Time was when a perfect profile or a baby stare meant a