Hollywood (Jan - Oct 1934)

1 cani 4M.O «m L/U+uz item, myhr IN two seconds you can change that untidy disorderly hair to a smooth, trim, well-arranged coiffure. How? Just by using HOLD-BOBS. But don't confuse HOLD-BOBS with ordinary bob pins that fall out as soon as you put them in. HOLD-BOBS stay! They hold each lock, or wave exactly as you want them. They never scratch your scalp or pull your hair — Because only HOLD-BOBS have small, round, invisible heads, non-scratching ends, and flexible, tapered legs, one side crimped to hold every lockofhairsecurely. Insist on HOLD-BOBSalways. Made only by THE HUMP HAIRPIN MANUFACTURING COMPANY Sol H. Goldberg, Pres. 1918-36 Prairie Avenue, Dept. F-24, Chicago, III. Th« Hump Hairpin Mfg. Co. of Canada, Ltd. St. Hyacinthe, P. Q„ Canada •> Straight Style HOLD-BOB Gold and Silver Metal Foil cards identify HOLD-BOBS everywhere . . . made in all sizes to meet every requirement. Also sold underthese brand names: ^ BOB-ETTES,CLIP-PER-ETTES ^;\ and LOX-THE-LOCKS. MAIL COUPON -froX. (jift CARD The Hump Hairpin Mfe Co. Dcpt. F-24, Chicago, III. Please send me free sample card of HOLD-BOBS and the new booklet "The Quest for Beauty." Name— _ _ Address. _ City. State □ Blonde □ Gray D Brunette D Gold Copyright 1934 by The Hump Hairpin Mfg. Co. 52 YOU CAN'T BEAT A GIRL LIKE THAT! "If You Don't believe in yourself, no j| body else will." That's in the copy * books, but Margaret Sullavan never cared much about copybooks. Oh, she never ran around telling people she was a flop, or shouting from the housetops that she was a ham actress, or anything morbid like that, but whenever the hand clapping that came to her as one of the stage's brightest ingenues seemed louder than usual, she would march herself off in a corner and give herself a talking-to. "Peggy Sullavan," she would say, "those people out there in the audience like you; they think you're good, but you're really not anywhere near as good as they think you are. You've got a lot — an awful lot — to learn. You've got a long road to travel. And you can't get where you want to go riding on a wave of applause." Margaret Sullavan wasn't looking for fame, you see. To her fame was a mere by-product of success, and success meant something more, than pleasing the public, something infinitely harder — it meant pleasing Margaret Sullavan. The twenty-two-year-old Virginia girl whose screen debut in Only Yesterday brought America to her feet has always been her own severest critic, her hardest taskmaster. Her clear grey eyes notice every flaw in her work, and it is very doubtful if she will ever be entirely satisfied with what she does. She will always find something that needs improving, and will move heaven and earth to improve it. You can bet your bottom dollar she will stay at the top of the ladder for a long time, and while the cheers for each succeeding film triumph are ringing in her ears, she will take herself aside and say, very firmly, "Don't let 'em kid you, Peggy. You've still got a lot to learn." That's the kind of a girl she is, and you can't beat that philosophy. It is the philosophy of real success — earned success, and earned success is something that is not too common in this world of tinsel and ballyhoo. If it hadn't been Margaret Sullavan she An intimate portrait of Margaret Sullavan by LEE WARWICK was most anxious to satisfy, she would have jumped at her first chance for a film career. But as it was she didn't. The screen was something out of her line in a way. It was a new technique, and she was convinced that she was not cut out for work before a camera. • So after her success in The Modern Virgin, the play that really first got her talked about in important circles, she turned down movie offers and went, instead, into If Love Were All and Happy Landings. Again she was offered contracts in Hollywood, and again she shook her brown head. "I wouldn't be any good on the screen. I know it." And that was that. She went to work with a stock company in Baltimore. Imagine that! The toast of Broadway going into stock! Was she crazy? No. She was Margaret Sullavan, and she knew she still had a lot to learn Later she came back in Chrysalis, then played in Bad Manners with Bert Lytell, and, finally, in Dinner at Eight. Hollywood still wanted her, and she decided to take a chance — to do one picture, and if she found she was right, that she was not suited to the screen, she would wash her hands of Hollywood forever. So she went to Universal City and made Only Yesterday. And when it was over she fled to New York. She felt that she had signally failed. When Universal executives raved about her work previous to the picture's release she was unmoved. She believed their enthusiasm was only flattery, and flattery was something she detested. But when the returns came in — when sound critical opinion rated Only Yesterday as one of the best pictures ever made, and the public acclaimed her as a queen of the screen — Margaret was convinced— not that she was a success, but that she had possibilities.' So she will go on, and make more pictures, and try her darndest to please Margaret Sullavan, which is so much harder than pleasing anybody else. HOLLYWOOD