Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

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Name Street City STATE ORIGINAL COLOR OF HAIR CThis FKAME is FREE with eachVnOlOor SNAPSHOT ENLARGEMENT for only 98^ Simply send us your PHOTO, SNAPSHOT, or TINTYPE, with your name and address and in about one week you will receive a BEAUTIFUL ENLARGEMENTcompletely lL framed in an ARTISTIC 5x6 Frame asillustrated. I 98c pins postage, or 3end $1 ; pay pustage. Originals returned. Take ...s amazing offer and send Photo today. DO IT NOW. Alton Art Studios. Dept. 5, 5707 Lake St., Chicago, III. The big film companies hire professional health and exercise specialists in order to keep their stars in trim and at the right weight— and that goes for both men and women players. If you want to learn the very latest scientific knowledge about health exercise— as practised by the Paramount studio stars at the direction of experts— get a copy of the next MODERN SCREEN (dated December) and you'll find this valuable information. 102 What Are the Movies Doing to Us? {Continued from page 27) take a topic of vital interest at the moment, disarmament. Many people know that there is a discussion of reduction of armaments and that we have an interest in this discussion purely through the pictures they may have seen, showing the representatives of various countries meeting to discuss this subject in Lausanne or Geneva. International affairs as such may mean very little, but the names of the men become familiar to the general public and without knowing it they absorb through the newsreel a great deal of general knowledge which stands them in good stead when they hear some political discus sion on a subject which has suddenly become vital to our country. Tlfe educational value of the movie seems to me quite limitless if the men at the head of the industry have sufficient imagination to see what possibilities lie before them and to remember that they hold in their hands a great weapon which may serve as a stimulant to imagination of young and old in this country and which may mean more general knowledge for the great masses of our people than has ever been possible before in history, and more intelligent participation in public affairs and national problems. Where Do You Go from Here? (Continued from page 67) the insults of bosses who demanded something more of their pretty secretary than stenographic ability. And she has emerged triumphant. THE hows and whys of it are no secret. To begin with, she took life apart and found two hard-to-manage parts. She called one "Work" and the other "Love." The first was the easier to handle. She "improved herself." Those are words, aren't they? Specifically, she began to read and to study. At night school, she learned enough stenography to get a better job. Then she became interested in law. For a while, she was enrolled in the Columbia University Law School. At night, again. In the daytime, she found a job with a newspaper syndicate writing about dresses and hats and desserts you could make in your ice box. Presently, the stage began to vie with the glamor of the law courts for her interest. Quite honestly, she analyzed herself and found a good face and figure plus a habit of "spouting poetry," as she describes it, at every opportunity. With eyes wide open, she borrowed enough money to go through a dramatic school. Then opportunity beyond her wildest dreams unexpectedly sought her out. This night, a producer from Hollywood saw her in a school play. She was in her teens, a bright and breathless little thing, when he told her that he wanted her to work in his pictures. If it had been realized, we would have another Cinderella story. "I'm not ready yet," she answered him. "In a year or two, I may be." During the next months, she worked prodigiously. Four plays in a civic theatre in Johnstown, Pennsylvania. Then, one in New York. On Election Day, 1930, she went to Hollywood. That first year she made "Six Cylinder Love," "Murders in the Rue Morgue," "Nice Women," "Strictly Dishonorable," "Bad Sister," and "The Mouthpiece." That was what she wanted — work and success ! So much for "Work." Now what of that other part of life that she called "Love." Can you guess what she did? Listen. . . . "I put a halter on my heart." And that is what she proposes for every bruised or disappointed one of us who envies the glitter and gaiety of more successful sisters. Impossible, you say? You doubt that love could or should be haltered? Sidney Fox suggests this : "Look around you at the divorce courts. Why are they jammed? Why is Reno always crowded? Too often it is because a woman didn't know where she was going. Wouldn't she have been better off if she hadn't loved so carelessly ?" She is very serious about it. It is something she understands so well. \/[OST of us, when we're in love, act f\-l like puppets. Little strings jerk us about and we begin to live with our hearts instead of our heads. And usually, we have our fling, our heartbreak, and then our divorce. But women don't want divorces. With all our hearts, we don't. We want love — the old-fashioned kind that lasts. We must fall in love, of course, but why not think out ahead before something happens to us? Before we let ourselves in for all the joy and pain that love means? Let's know where we're going and then, if it is what we want, let's go !" Sidney Fox would give a great deal to be able to help those impetuous girls who plunge in and out of love and gain nothing but heartaches. Her desire is