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JUST JANET JANET Gaynor is the sort of girl that every man could fall in love with—the sort who would warm his slippers by the fire and cook his bacon to perfection, yet retain an elusive, elfin charm that would make him fear the pixies might one day steal her back from him. Off the screen she is very thoughtful and quiet almost to timidity, yet she is capable of emotion that carries her through difficult scenes with amazing ease. Although she appears so frail, her store of strength is extraordinary, an acquisition of prolonged dance training. On the set Janet has an outstanding virtue that few stars possess—she trusts her fellow workers, and lets them know it. So from the camera-man to the prop boy they all do their utmost, although she has none of the aggressively democratic veneer of hail-fellow-well-met cheeriness many stars affect with studio workers. It is not natural with her, and she does not attempt to cultivate it; but everyone likes her. She is a wise little person, and this she shows in the careful way a good proportion of her salary is invested each week and in the people whom she trusts. The coming of speech to the silent screen did for Janet what it did for so many other stars—humanised her. It made them less haloed and more " hallo-ed." So although she lost a little of her ethereal quality, she gained much more with her soft, charming voice, which also seemed to develop a new vitality in her. She made her talkie debut as she made her first big silent film, with Charles Farrell, in one or two reels of " Lucky Star." These two have been one of the most successful and beloved teams in films since " Seventh Heaven," and their work in " Sunnyside Up," "Happy Days," and " Playmates" showed that the talkies had not robbed them of any of their hold over us.