Hollywood (Jan - Oct 1934)

he told her of the years of hard work it took to get him where he is today, and the years of grind it would take to get him to the place he really wants to be. She laughed at and with him when he boyishly told her how pleased he was with the success he had gotten, and she loved that quality in him, because it was so natural. Then The conversation would turn to her. She could explain to an understanding person, how when she was a little girl, she recognized a fascinating and sometimes distressing psychological fact (and there she would pause for emphasis) that there were two Elissas in the one girl. She told him of how today there is the film star and there is the serious minded person who writes books. As she spoke, he pictured her in his mind, painstakingly writing by hand her latest novel — silent, thoughtful, oblivious to all about her. She recalled that one of her two selves had been a child who loved to play and romp with her brother and other children. The other Elissa preferred to read quietly by herself, to walk alone among the flowers in her English garden, or to dream away the hours. She told him, while he sat in wrapped attention, that while she writes for publication and acts before the camera, she faces squarely . the brutal fact that the motion picture screen favors Youth. He could not think of the girl before him as ever growing old. But she softly reminded him that she could not always be "twenty-one." She added that she realized that the author can go on and on, and that was why she insisted upon keeping at her writing, for someday the actress must give way before ever advancing time. Perhaps that is why, with her realiza tion of fleeting time, she cherished the carefree, happy times she was spending with the humble musician. But all things must end, good and bad alike, and the time came for the pair to go back to their different occupations. He must carry on in New York, and she must return to her work. At the station where they stood waiting for the time the train was to leave, she told him with her chin buried deer> in the fur collar of her coat, that it was difficult to realize it was time to go home. It hardly seemed possible that ten such haopy days could fly by so quickly. It had been such fun going places and doing things together. After she left, Chasins, back in his apartment, sat a long while in front of his piano unable to work. He pictured her arriving home, where she must become a different person, a person who is neatly typed out in script, but who becomes alive when the vibrant qualities of his Elissa take hold. He knew if the part required a scatterbrain, a tom-boy, she would be as ready before the camera to do the part as she was the afternoon they met; when she helped him shift the luggage in her suite. It would be the same person whom he had pictured while she told him of her home life, cantering, helter skelter, up the hills and down the dales of California, hair shining in the early morning sunlight, eyes sparkling with the brightness of youth. But he knew too, that if the character required a sober, pensive, sorrowful lady, she could drop back into the mood she was in the night she wanted soothing music and he had played for her. The aristocratic Landi could do these things easily he knew, for often he had watched and loved her quick change from the sublime to the ridiculous. It was a picture he could never forget. Harry Carr's Shooting Script Continued from page thirty-nine What Germany Lost AFTER seeing Elizabeth Bergner in . Catherine the Great, you begin to realize Hitler's folly in chasing all the Jews out of Germany. The German film studios might as well fold up and turn the buildings over to the cows. The German studios cannot hope to survive. There are too many great Jewish artists; incidentally, there are too many Jewish exhibitors who will be asked to buy pogrom pictures. My Pick I Have My first choice for the prize play of 1933 — in case the medal-awarding committee of the Motion Picture Academy wants to know — which it probably doesn't. Mae Suffers MAE WEST wants to find a newspaper that will print the answers she wanted to hand back to the lawyer who cross-examined her in that robbery case. Every time she thought of a bright crack, the lawyers objected that it was incompetent, irrelevant and immaterial. Incidentally, the wise-acres in Holly MAY, 1934 wood are not so sure that Mae is going to be a lasting attraction on the screen. Her stories and her parts are too much alike. If she changes her parts, the customers will not like it; nor will they like it if she continues in the type of role that brought her fame. So, what to do! Seventh Son of a Seventh Son And Now Let's see what kind of a • prophet I can be. This is the way the ache in my corns reads to me: These historical pictures will stop as suddenly as they began. And the fellow who makes the last one will burn his fingers. Mae West will slip back. At least two leading men will pop up to stellar fame. Garbo will go bigger than ever. Doug Fairbanks, Sr. will give up the screen. The present mood of the young fellows — even the flappers — is an earnest search for information. Some bright bird will put on an informative picture and make a hit. There is no reason why literal, hard-boiled facts — romance with the cover blown off — should be reserved for past periods when gentlemen wore frilled panties for sleeves and dug hardware into each other. GETS SPEEDY RELIEF FROM BURNING EYES! When eyes burn from reading, sewing or office work, or from exposure to sun, wind anddust , apply a few drops of Murine. It instantly eases the burning sensation and quickly puts an end to the heavy, tired feeling! 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