Hollywood (Jan - Oct 1934)

PHOTO OR SNAPSHOT ENLARGED 8* SIZE |6"X20" New low price for full length or bust form, groups, landscapes, pet animals etc., or enlargement of any part of group picture. Safe jucia/ i rtlA/ return of your origi *»*" l\jtv niii photo, snapshot or PRICE tintype guaranteed. Our secret process produces superior enlargements for only 89c. SEND NO MONEY Just mail photo or snapshot (any size) and within a week you will receive your beautiful life-like enlargement, guaranteed fadeless. Pay postman 89c plus postage or send 91c with order and we pay postage. PPPC With each enlargement w« r**™K' miniature reproduct" of this amazing offer — 100 S. Jefferson St send FREE a band-tinted -— sent. Take advantage now nd your photo today. UNITED PORTRAIT Oept. E-224 Chicago. III. Skin JbouALeS . . . YIELD AMAZINGLY TO NEW TREATMENT Doctor Finds WE wish every sufferer from such skin ailments as eczema, boils and itching could read a leading doctor's recent article in a well-known medical magazine. 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No "dyed" look, but a lovely, natural, most lasting color; unaffected by washing, or permanent waving. Free Booklet. Monsieur L. P. Valligny. Dept. 19. 254 W. 31st St.. New York City. WANT A GOV'T JOB? S158 to S225 month. Riilway Mail Clerks. Many other Government Jobs. Write IMMEDIATELY for free 32-n.iR-e book with list of U. S. Government positions. Men and women 18 to 50. FRANKIIN INSTITUTE, DEPT. B289, ROCHESTER, N. Y. PERSONAL WANT TO BE POPULAR? Learn to read cards. Thrilling! Money in it too! Send for particulars. Address — N. M. Estey, Aptos, Cal. FEMALE HELP WANTED HOME WORKERS— make up to S50 weekly listing names — addressing — other work. National Relief Alliance, Berwyn, 111. MAY, 1934 she telephoned the studio she was leaving for New York. "When?" "In half an hour." "But you can't go. Your picture — " "I'll be back in five days. I just want to see if I like New York as much as I think I do. Maybe the skyline won't look the same now. Then, maybe I'll like Hollywood, more." And she gave the name of the people she would be with — Only, the studio discovered — when the plane had gone — that those people are now visiting in Hollywood. So they decided she hadn't gone and gave out a story she was lost. When a telegram arrived from Kansas City saying a girl listed under the name of Margaret Sullavan was on a plane. "Has black eye and torn cheek and refuses to talk — " Then they knew she'd told the truth. Probably didn't even know her New York friends were in California. For she usually tells the truth. Not always. I asked her if she'd ever been married. "No. Never." Her eyes were as candid as a babe's peeping from his cradle. I knew perfectly well that she had. Yet I didn't contradict her. Perhaps this was because I also knew that she loved this boy from whom she was now separated. Loved him with a madness that comes with genuineness. They had trouped together in small companies. Not eating for days at a time and then feasting when Fate suddenly smiled. Her love had been so great — And the Fame, Her Fame, would never be great enough to make her talk about memories that would always be greater. Perhaps that's why I let her lie and let her think I believed her. And perhaps it was because I'd rather let her have the black eyes. Oh, well, I could go on for pages. But there's supposed to be a main point to this story. Margaret Sullavan is not like Katharine Hepburn. And she is not imitating her. For Margaret to imitate Katharine is as ridiculous an idea as Hollywood's old theory that Katharine was imitating Garbo. There are some women so individual that they can neither imitate nor be imitated. These are two such women. And when you know them both — well, you have this sort of feeling. You like Katharine. You respect her. You even feel a little sorry for her. At times, you want to shake her — grab that hard, firmly enameled surface from her so you can get down to the real woman. Yet you know the real woman is on the screen. Only the camera will ever penetrate that surface, molded by so many generations. But you love Margaret. You want to protect her from herself. Save her from the results of her emotional nature, as the world has so long wanted to protect the effervescent Southern women. At times, you want to throw yourself in front of her and tell the world to "go to h — " and leave this easily-hurt, soft exterior, alone. And you know that all of this woman will never be on the screen. The camera can never catch all of the fire and fury of these turbulent emotions, untrained for so many generations. And you understand perfectly why producers urge Katharine Hepburn to talk more and why they order Margaret Sullavan not to talk at all. For producers understand that they are alike only in one way: Each is sincerely herself and all of Hollywood, banded together, will never alter either. WHY BE FAT? 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