Modern Screen (Feb - Oct 1933 (assorted issues))

Modern Screen Qiifo ancf^)iifrnJ need First Aid Wise mothers keep a jar of 'Vaseline' Petroleum Jelly handy for the inevitable cuts and scratches, bumps and burns which children seem to fall heir to. It's the safe, dependable treatment recommended by doctors the world over. Soothes, keeps the sore spot clean, promotes the growth of healthy tissues . Prevents scars, too. No medicine cabinet is complete without both j ars and tubes. BE SURE YOU GET THE GENUINE LOOK FOR THE TRADEMARK VASELINE WHEN YOU BUY. If you don't see it you are not getting the genuine product of Chesebrough Mfg. Co., Cons'd., 17 State St., New York. Vaseline REG. U. 9. PAT. OFF. SQMG WRITERS Substantial Advance Royalties are paid writers of songs found acceptable by publishers. Send us your best songs or poems for free examination and advice. Past experience unnecessary. We compose or arrange music and secure copyrights. Write today for our free explanatory booklet. Newcomer Associates, 1674 M. Broadway, New York. 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MAVIS STARLING of Prospect, South Australia, writes in the same vein: I saw an advertisement for "Merrily We Go to Hell" and I said to myself, "Some hare-brained thing, I suppose. Probably not worth the wear and tear on the old orbs." Then I noticed with surprise that Fredric March was in it. And I said to myself again (this habit isn't really chronic, yet), "Can't be so bad, after all." Well, I saw it and loved it. But if -Fredric March hadn't been in it I would have probably missed a darn good picture and all because of a silly misleading title. Why do they do it? JOTTINGS FROM OTHER LETTERS JUST DESPERATE KATE of Canada wants to know what has become of Jean Arthur. (She is in "The Past of Mary Holmes" with Eric Linden, Kate.) MARGARET K. of New Haven, Conn., wants to know what free lance means. (A free lance player is one ivho is not under contract to any particular studio. His services are paid for on a per picture basis by whatever studio is employing him.) VIRGINIA T. of Chicago, 111., wants to know why the leading man in "Prosperity" was mysteriously changed from Norman Foster "to Wallace Ford. (M-G-M made two versions of this, Virginia. Wallace Ford replaced Foster in the second version.) MRS. K., who doesn't give her address, complains because casts of characters are flashed on the screen without telling which actor plays which character. (We agree with your criticism, Mrs. K.) JACK HENRY, who lives right in Hollywood hasn't much patience with the trouser-wearing fad on the part of women. He doesn't object so much to Dietrich's wearing male attire— "Her life is hectic and varied. She enjoys the privilege of an actress— to be amusing and slightly sensational." But, he adds, "Heaven help the box office if Clark Gable should suddenly turn aesthetic and appear at some future opening in periwinkle satin and silver fox!" (Not much danger of that, Jack.) GWEN BLAKEY of Edmonton, Alberta, Canada, is crazy about Gable, but wants to know if we must see him taking a shower, as in "No Man of Her Own." N. L. BROWN of Pontiac, Michigan, states, surprisingly enough, that Leslie Howard is a "so-so actor." (What about that, Hozvard fans?) E. G. S. of Detroit, Michigan, wants to know "why we don't make a little more noise about Gary Cooper." (Well, we're running the story of his life, E. G. S. The second installment is in this issue — page 64.) ANNIE S. of Sumter, South Carolina, likes Bette Davis a great deal, but cannot help suggesting "That in future pictures where a Southern accent is needed, they get an actress from a little farther south than Boston, Mass." In other words, Bette's Southern accent in "Cabin in the Cotton" was not entirely convincing to Mason-Dixoners. CLARA FEHRS of Port Chester, N. Y., sends in nice compliments for our Modern Hostess department and Mary Biddle's Beauty Advice. (Both departments are grateful.) MARGARET UNDERHILL of Galveston, Texas, states that we give Janet Gaynor far too little space. "She is a great box office star," says Miss U., "yet she is as neglected as the lowliest ingenue." (The ansiver is, Margaret, that Janet, while by no means as much of a recluse and publicity-hater as Garbo, is nevertheless averse to giving out too many interviews. She lives quietly and with the exception of the stories about her separation from Lydell Peck, she is not much in the newspaper and magazine eye. We admire her as much as you do, but just to print that we admire her wouldn't make a very good story, tvoidd it?) MARIAN GERING of Sioux Falls, South Dakota, in answer to Carter Bruce's recent article, "What Does Divorce Mean to Janet?", replies staunchly that it means "her fans love and will support he^as they always have — she's still our ideal." ONE LAST WORD Please send in really constructive criticism! We get so many letters which say "I think So-and-So is' wonderful." Most of the raves at present seem to be about Tom Brown and Richard Cromwell. We admire both boys immensely, but we think sometimes if we see one more letter saying Tom and Richard are wonderful we'll go mad. But seriously — tell us why you like or dislike. Just a plain statement of the fact that you enjoyed a picture or admire a player isn't particularly amusing or enlightening to other readers. Remember — this department is in a roundabout way, working for the good of future talkies. You are really the only people who can work that good — by intelligent, sincere criticism. You can put that criticism into letters to this department. We will be only too eager to print such letters. So let's hear from you ! What the Author Thinks (Continued from page 39) contrast to the type of parts I had seen her play, there is, about her, absolutely no artificiality. But in "Cavalcade" in which, I again repeat, I find her performance magnificent, she is very, very lovely ... as lovely a creature as I had in mind when I created the character of Jane Marryot. In again saying that while I was invited to submit suggestions for the casting of the various parts and that I was unable to do so for the reasons I have already explained, I would like to take this opportunity of saying that I feel the picture is superior in every way than if I had personally been connected with the actual production, for the suggestions I then would have made would not have been an improvement on what was done without my cooperation. I had many discussions in London with Mr. Winfield Sheehan with regard to the filming of the play. It was the desire of Mr. Sheehan to keep as near to the play as was possible. It was his idea that a faithful replica of an actual performance of the play at Drury Lane Theatre should be made in the form of 100