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

Modern Screen "J tell you, Stanley, it's outrageous! (Laurel and Hardy, M-G-M Comedians) Stan: Wh-what is, Ollie? Oliver: This, you lunkhead. Stan: This what? Oliver: This picture of us here in our nighties. A body can't enjoy the least bit of privacy any more since that durn editor of FILM FUN began bragging about giving his readers "all the intimate gossip and news of Hollywood." Why, that fellow ought to be — Stan: That reminds me, Ollie. Where the deuce did you leave my copy of FILM FUN? Which reminds us. We left your copy of FILM FUN at the nearest newsstand ! The Screen's Only Humor Magazine • P. S. The FILM FUN-Universal "Once In A Lifetime" contest, appearing in the issue now on sale, is the easiest $500.00 cash prize contest you could care to enter! ply hasn't any back to speak of. The girdle that resembles nothing so much as an old-fashioned stomacher, ends in a bow that peeps out beneath the very short bolero accompanying it. Three diamond buttons fasten the jacket in front. Her sandals are the color of the dress. "My cornstalk costume," Jean calls it. THE entire scale of browns is ideally suited to her. They're almost as charming a contrast on her as black. In her own home you'll frequently had her in brown shorts, a white polo shirt and tennis shoes. No stockings, even in the winter. An exceptionally chic outfit consists of a heavy crepe dress m a dark chocolate brown, a Japanese ermine coat and a fascinating crepe turban the color of the dress. (There's a picture of the coat on page 58.) Turbans are Jean's preference over all other hats. "I feel more at home in them, for I've worn them so long. They seem to be part of me." Yes, they're typical of her — sophisticated, urbane, svelte. "I know hats are supposed to be worn straight on the head this season but I believe I'll keep on tilting mine. I think they're more interesting that way." Strong-minded young jvoman! Keeping her weather eye open to fashion trends but letting her mirror decide whether she'll accept them. That white plush sailor with the wisp of a brown bow and veil shown on page 58 is excellent with the outfit, too. It has the new inch and a half brim the fall hats are sponsoring. The Japanese ermine coat is Jean's latest acquisition. I was with her when she bought it and it didn't take her five minutes to settle upon it. "I have my good mink coat that I've been wearing on all occasions. This is a semisport coat and it will save the other. I can wear it to the studio and around." The stand-up collar, belt and trim around the single lapel and down the side of the coat are beaver. It's long in the present fashion of coats. The sleeves are full at the bottom and caught my people drink but sour milk ; they eat nothing but acorns and a little mutton." And so it was decided. Schoedsack and Cooper left Shustar on the ninth of April, 1924, to join the Baba Ahmedi tribe on its forty-six day migration across the mountains to the summer grazing grounds. The tribe numbered five thousand souls and possessed fifty thousand animals. BY the seventeenth they were camped on the banks of the Karun River, a rushing, swirling stream of icy water that barred their way. With the next dawn the tribe was ready for the cross at the wrists with tiny beaver cuffs. Jean has a bright Kelly green dress she can also make good use of with this coat. There's always one dress of that shade in her wardrobe. Why? I don't quite know. But it's a very oh-bejoyful dress and when she tucks the turban of that color over her platinum curls and strolls down Hollywood Boulevard, even the newsboys gasp their admiration. T^OR afternoons Jean has a black crepe coat dress. The skirt is gored (most of the skirts are gored or slightly circular this autumn; only a few pleats are shown for sports.) It comes to a V 'way up on the front bodice which gives you a feeling of a long, unbroken line — grand for you medium-sized and short girls. The yoke is white crepe and crosses over in back to form the belt, and ties in front. There's a bolero that goes with it. The sleeves are small and puffed so that Jean's white gauntlets, trimmed with black, provide a very pleasant accent. Her slippers are black suede. The six skin sables are a gift from her mother. One of her new black hats that she wears with it and with her other black crepe frocks is a large brimmed model of antelope (page 59) having a cut-out design on the crown and a clever small bow. Another is of stitched velvet with a tiny brim and it has a flower trim. (See page 57.) Surprisingly enough, Jean's negligees are quite simple affairs. She abhors elaborate ones that are all be-laced and be-ribboned. The one you see her in on page 60 is pale pink georgette and it has ruches edging the sleeves. The only ornament is a flower of the material on the shoulder. Her mules are silver brocaded. "Any woman of taste knows her life and the clothes that fit into it," she told me. "It's chiefly a matter of choosing the right thing to begin with and not allowing it to get out of shape or limp. You have to have faith in your clothes, just as you have to have faith in yourself, to be successful in dressing." ing. Schoedsack had set his camera on a rocky escarpment that overlooked the scene, and he got film worth much more than its weight in gold. For hours he stood at his camera, relieved for brief intervals by Cooper who was learning the art of cinematography. "We had only 4,000 feet of film left when we began to photograph the migration, the main part of the picture," explained Schoedsack. "So we were forced to shoot our big scenes in takes of ten feet and we had to keep on the jump all of the time, for we could never tell when something big might occur." Day after day the long file of men, The Adventurous Road (Continued from page 34) 112