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Their Private Love Lives
{Continued from page 6q)
His Best Friend
I\ the face of all the purple publicity in " • ' tlie love affair of Lupe X'elez ," it is somewhat of a shock I • w ■ love experts " at the private
practice of their own game.
True, Lupe is likely to lean over, every ■iid then, and bite Gary's ear, just as iv she (Joes, but the disappointment playful than passionate, 'f romance, Lupe is per' ~i)t.-ll out "I Io\e you" in 1 Ciary when he's 'way across 1 ' >■ even indulge in such comas neat telephone disputes as to ■r not Gary is late to Lupc's for
iiniitT.
'My clock says six-thirty," Gary alibis
r my clock says see-ven," complains . . . the gal who is supposed to I it up in lov e . . . in other words, the ! iwer of the screen.
■y quarrel, she vows up and down • T speak to him again, and then, ■ip, she breaks out in tears, l ilts like dinner parties, she ' ' her table, • next to
I.. .. 1 : ] >,.)unds him
to eat more, so he won't be so "skecny."
And Some Are Very Married
IF he does not 'phone her exactly on the appointed time, she is sure he has been killed in an automobile accident. She is invariably the first one to suggest leaving Hollywood parties because "Garee" has an early call. She mothers, and scolds and fusses over him. The Old Woman Who Lived In The Shoe, who had so many childreti she didn't know what to do, has nothing on Lupe in love — in private. But hot stuff! 1 'm lafhn'.
Richard Arlen calls Job>na Ralston "the little woman," and "Mamma." She calls him "Papa" and banks his checks.
"Remember to treat your wife as you would a sweetheart, as a constant source of surprise and novelty," advises Edmund Lowe. But in private love, he calls the sophisticated IJIyan Tashman, "Lil."
.Any time after nine o'cl<x-k Janet Gaynor is likely to crawl up into Lydell Peck's lap and doze off for a moment or two.
Sue Carol an<l Nick Stuart use entirely different straws in the same ice-crea.Ti-soda glass.
If these "l-ove Experts" have any tricks that aren't known to Joe and Susie Bridegroom the world over — I haven't spotted them yet.
Black and White Read and Write
(Continued from fMge l6)
■ If many months ago, hut some c'loniont ki'pt the pro<luccrs 1 Sow that ■ rts have been
ers have ing. To Warner
I 'imody
and apparently it 'i a
•w) wh.it did the (Jthi r , , do?
> many musical pictures, •us sums on s<-enfry, that t he word rs use a I 'l ing a lot to me is the ■ -. arc a flop. 11 that rcfietition .mil in this day ' a rapiil inething ' as I in
I > ... i. • 1 < liter
•ught a great deal on this subjei t It in my mind perhaps much 1 I express if nn p.i(>or. but !>roist a uld the
Ctadys A. lojcano
vista of opportunity has been thrown o()en to people living in regions removed from the cultural centers.
For many years it has been said that the best, the only truly "[ that uscfl on the pri the talking movies, w surpassing that of t tions, may a\ ail i h. tion. It is to IxTherein lies thi
St.!
thi
II i h.i'i to observe
act ' nil
'iction IS Now ' ' • f.ir
.1 1
v.ii .1
>( they w ill iity of a I ' ion ot good diction throughout >f ates.
when \ \y .:< r,
»IXfch ■
■ ii-r id I-.1
n ot the I tion is
.Among the st.i: spoken word <ii Ann Harding. Dming tiic >eais when she was leading lady of a stock company in Detroit 1 often had the pleasure of hearing and seeing her. Josephine Kankin
Ixtve Scenes Can Be Put Across
Cal. of the Well
lid love lures in
1'.(H>tl Diction \ ia Talkies
Gross Pointe. Mu higan
. fur. V T I'. • . f >.. I I,, , ,t-. ituin ■II is ite<J
-So the producers .Tre C'< lack of • ' '
then, ti
scenes li,.' :;■■■• n Uu in | stea<l of laughing hyenas or warbling song biriK
I ii-s can l>e put across in the
talk II IS m the silent pictures: wit
ness. John I in "General Crack."
I am sun i ire fired of this hvs
teti. J
I '
th.
ni.i ' not
fh tihy
mwE
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