Talking Screen (Jan-Aug 1930)

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No experience reqaire'' « M J M ^ PI8NCEK TAILORING CO.. Oepl.V-l093^ #^ Cingress md Tbrooi Sti.. Cbiciga, lit. mB%^ SONG WRITERS.^ Substantial Advance Royalties are paid on work found acceptable for pablication. Anyone wishing to write eUher the words or music for son^ may sabmit work for free examination and advice. Pasiexperien ce unnecessary. New demand created by "Talting Pictores". folly described in onr free book. Write for it Today— Newcomer Associates 727 Earle Bailding, New York, N. T. In the next issue be sure to look for the amusing and informative feature entitled '"^They Are Clay in Her Hands" the startling and absolutely true story of the work accomplished by Sylvia, famous masseuse to Hollywood's famous. \_Continued from page 38} finished. It is of very little use in that condition. ,It requires the completion of the circle to make the woman a real, a vital being. That is why I have come to look upon iove as a completing process. It affords me the chance to be something full and distinaive. A THOUGHT occurs to me as Alice is talking that is certainly worthy of mention. She is so utterly serious in what she is saying that it suddenly strikes me that I have never seen a story about her that has given her the chance to talk as she wants to talk. When a writer in Hollywood goes to Alice for a statement, he always goes to her with a preconceived idea of just what she will say in answer to the question he is going to ask. And he always has a question to ask Alice White "OF THE SCREEN." Never does it occur to him that her judgment on any subject hut parties — dancing — hey-hey — and riotous living would he of any value. I am sure of this statement, because I have gone to Alice on more than one occasion with those very ideas in mind! I have never given Alice White an opportunity to speak her own thoughts on a subject which she enjoyed! The writing fraternity has limited Alice White for the public! She has never talked for publication before without certain well-defined boundaries in which she had to confine her opinions! I am frank to admit that I, in this very instance, called upon Alice to speak on the subject of love for the single reason that I expected her to give me a riot of color and spice in her answer. But she didn't, and this marks the last of that sort of ideas concerning her. SINCERELY doubt whether my ideas and ideals on this great topic will be of any assistance to the majority of fans. By that I mean my fans. Many of the faithful audience I possess are girls who are working for a living ... just as I did before I started in pictures. Not that working as I do isn't just the same thing as they are doing — but my work allows for so much more financial freedom. Money, home and clothes never enter into the thoughts of love. I have all of those things that I can use. Protection, in a finandal way doesn't limit my ideas of love as it does most women. The average woman must seek the protection a man is able to give her at the same time she is looking for love. And while love may mean as much to her as it does to me — there is plenty of opf>ortunity for it to mean less. The longing for proteaion takes away from the strength of love — as taken by itself. That is the main reason why love is the most imponant thing in life to me. I have all the material things that love is liable to afford a woman who hasn't those material things to start with. I am not hampered by anything in the world — but myself. As I have said: Love takes away my personal independence, submerges my real personality and makes for a great deal of sacrifice — which ends in love. I will go even further to prove to you that love is the greatest thing in life to me, by telling you, truthfully, that love has been responsible for every big mistake I have ever made! That iounds almost as though love were something I should wish to avoid — but the opposite is true. I am GLAD of the mistakes I have made for the sake of love. It's the greatest thing in my life — or I might say: Love is the ,only thing necessary to my happiness! And thus Alice White terminates her surprising revelations on the deepest of all emotions. Legitimate Criticism {^Continued from page 79] the stage is artificial compared to the pictures." "But—" "But nothing — The stage is artificial compared to the pictures. Wait a minute and I'll show you what I mean: when I saw George Arliss is Disraeli — the talkie — I actually believed he was in 10 Downing Street. When he fed the peacocks, I felt it. His stage production didn't affea me that way. Sure, they had a set of this and that — but it was an attempt at it: while the picture had exact replicas of it. You could see the exterior as well as the interior. The pictures are not only real, but they are action proof as well." \0 YOU see what I mean?" He pleaded. "Of course," he went on. "It would seem strange, playing comedy to no laughs — that wouldn't be real I grant you." "Have you anything else on your mind besides acting when you get out to Holly wood?" I asked him. "Yes — " he said, filling my glass. "You mean direaing?" "With the advent of the talkies there're any nimiber of things that can be done from that angle — directing". I've got some pet ideas, but let's not discuss them, they're so vague." As we sat there in silence, sipping our drinks, I thought of the many things he had done in the legitimate field both in aaing, and directing. But I especially dwelled on that revival a few seasons ago of Bernstein's Thief, in which he acted and direaed, and I wondered if he had it in mind for the talkies. Lionel Atwill clinked the ice in his glass, breaking my reverie. "Here's to that red heeled gal, the talkies." He toasted. "She has it all over her sister, and she's here to stay. "W|hy even the country of her birth is different. California here I come." 96