Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

BETWEEN YOU and ME Here's a department— all for you— to tell the editor of MODERN SCREEN your frank opinions about the talkies. And you'll enjoy reading other readers' letters, too j Dear Readers: A number of you have written to me recently about various old favorites. Some of your letters indicate that you haven't been at all pleased with the type of picture which some of them have been making. Other letters indicate that you are not satisfied with their infrequent appearances in pictures. Looking over the new pictures, it occurs to me that this might be called "Old Favorites Month." In the first place, I recently was privileged to see a preview of Marion Davies' "Blondie of the Follies." I had been very disappointed to see this very capable comedienne forced to waste her talents in such mediocre fare as "Polly of the Circus." Well, her new picture is something in the nature of a revelation. Despite a rather trite and unconvincing denouement, "Blondie of the Follies" is one of the most interesting pictures in recent months. I hope you will write to me when you have seen it and tell me if you don't agree. Don't you find Marian is her old self again. Harold Lloyd is another old favorite whose clean and hilarious fun appears all too infrequently. What do you think of "Movie Crazy?" Personally, I got a big kick out of it and hope that Harold's promise to make more pictures each year will be carried out. Then there's Doug Fairbanks and his new "Mr. Robinson Crusoe." I haven't seen it myself but I have heard fine news about it. If you have seen it, write and tell me what you think of it. "Cabin in the Cotton" brings you Richard Barthelmess again. Here is an old favorite of whom we never tire. At least, I never do. His pictures are different; he never allows himself to act in a story which is trite and usual. "Cabin in the Cotton," I have been told, is no exception. And while we are on the subject, I am sure you agree with me that Mary Pickford's much delayed picture will be well worth waiting for. And then there's a rumor that Norma Talmadge and George Jessel are going to make a picture together. The glamorous world of Hollywood would lose much of its dignity and interest if it weren't for the fine pictures made by the fine young "old favorites." Don't you agree? Please address all letters to The Editor, MODERN SCREEN, 100 Fifth Avenue, New York, N. Y. Some Folks Ain't Never Satisfied R. D. K., of ST. JOHN, N. B., who says she has never written to a magazine before, has a somewhat strange criticism: Why is there not more publication in screen magazines about Greta Garbo, Norma Shearer, Marie Dressier and Clark Gable— the stars fans like most to read about? I hope you will answer my question soon as I am axious to know. (Well, R. D. K., it seems to us that every issue of Modern Screen, and, indeed, every other fan publication, has a story on at least one of the players you mention; if not on all of them. However, zve'll remember your request.) It Seems that Dietrich Has Just About Everything HOPE NAPOLI, of SAN JOSE, CAL., gets didactic about Marlene Dietrich : You can have^ your Garbos, your Bennetts, vour Craw fords and your Shearers, but I'll take Dietrich, Marlene Dietrich. Why? Because she has the glamor of Garbo, the charm of Bennett, the talent of Crawford, and the poise. of Shearer. In other words she's my idea of not only an actress but a woman. Long live our Dietrich because there will never be another half as fair or half as talented. (Maybe you're right, Hope, but you forgot to mention that Marlene has the legs of Thelma Todd.) We Don't Agree with All of this, but It Sounds Well K. W., of LOS ANGELES, CAL., says thus and so : We go to the movies to forget monotony! Often though, we find monotony in repetition and duplication of effort. Platinum blondes galore, dressed alike, o-roomed alike, waves in their hair alike, smiling alike, and all more or less portraying the biological urge to pose and glance. We are most tired of the popeye Joan C, with her wiggle walk. Ruth ] Chatterton's sameness, Norma Shearer I with her nervous giggle — always the , same. There are many we never tire of. Always, they stir us up and make -us think ; that after all there are bigger things than the diatribes of our lives. Marie Dressier and her marvelous versatility! j George Arliss, his great and unfailing artistry and knack of always selecting j good plays. He surely knows what the j public, old and young, likes. Greta Garbo | and her apparent great depth of feeling ! ■ E. G. -Robinson, Ronald Colman always ] dependable and never disappointing. Helen Hayes and some of vthe splendid ' artists in "Street Scene.". Please have them soft pedal the pas i sion kisses. Stale stuff,. Let George Arliss pick plays for the individual artists and see them go box office! ' y: ■ ■■ D; 1 Note in your magazine that Mary j Pickford wants Clara Bow in her pic , ture. Let Mary stand on her own laurels. > <>■ \ Clara Bow with those deep tragic eyes j always reminds me of Sarah Bernhardt. Only she hasn't that deep, resonant, , marvelous voice! Voice culture and the i elimination of "Oh, yeah?" from Clara's j vocabulary will do much for Clara. Clara mav grow old. and fat but she will still be' a drawing card like Marie , Dressier, because it is her deep emotionalism, knowledge of human nature in the raw, her primitive feelings that all j go to make up her personality — not : merely dependence on a physical charm, j (There's a lot of grand criticism in your \ letter, K. W. But just zvdit until the 1 fans 'read what you say about Joan Craw j ford. You're in for it!) Here's One Person Who Refuses to be Fooled AN INTERESTED SPECTATOR, of ST. LOUIS, MO., has an amusing piece , about the atrocities of publicity: Publicity, what crimes are committed in thy name! This is the second time I have read that lovely little tale of the way Billie Dove visits hospitals to learn the details of sickness and suffering. Only this time there was an added embellishment to the effect that the gorgeous Billie goes to watch the patients die so that when or if she is ever called upon to portray a like situation she can give a realistic performance. If it be true that a casual stranger is permitted to watch the death-beds of all and sundry, the hospital management is woefully lax. Very poor taste, too, if nothing worse. Also, Billie is a lovely woman but she scarcely attains such dramatic heights that such a procedure would be in any way excusable. One death-bed would be enough for most people. Palpably cock and bull story. I could wager a whole bushel of old (Continued on page 88) 84