Motion Picture Classic (1923, 1924, 1926)

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RADEX SPECIALTY CO., Dept. K-6, Providence, R.I. "Then— It Happened" "YY/k had just been playmates before, laughing and joking together, but suddenly we became serious. He told me all about himself and I told him all about myself. We talked for three hours, mostly about ourselves and our ideas on life — and oh, all the things people do say in such a case." The sun did not come out at all that day, but a certain small god who wears little or nothing and carries a bow and arrow did. Two arrows reached their marks. "After that, we went everywhere together," beamed the happy bride, "and two months and four days after the first time we met, we were married. It was this way: We'd talked about it, of course, off and on, but when it came it was as sudden as our falling in love. "The picture was finished and we were driving thru the little town of Santa Ana one day. We passed a sign reading: 'Justice of the Peace.' "'How about it?' said Bill. 'Shall we get it over?' " 'Surely,' I replied. " 'Mean it? Right here — right now?' " 'O. K.,' I said, and right there and then we did it !" Married in Santa Ana The lovely Elinor admits that before the fatal day when she set her hand and seal to the contract to play the princess, she had belonged to the Hollywood faction which asserts : "No, I would not marry an actor !" "I thought that two actors married to each other had less than half a chance at happiness," confessed Elinor. "I used to say that the jealousy of a husband who was in the same business would work against us, that he would probably criticise my love scenes with other men, and resent it if, for some reason, I secured better parts or better pictures than fell to his lot. "But I dont have to worry about Bill. There's not an ounce of jealousy in him, and as I have none and we trust each other Oh, well, Bill is such a dear !" Elinor and Bill have just taken a new house and the things uppermost in her mind are draperies, lamps and matching the bedroom curtains. "The living-room is thirty-four by twenty," she was confiding, eagerly. "We are so anxious to get it fixed up before Bill has to go away on location. He may be gone a month. Isn't that terrible?" It was all she could do to bring her mind back from the fascinations of the new house to a consideration of advice to girl fans who would like to get into a studio and appear before the camera. But when she had left the dear "honeymoon house," Elinor had sound advice to offer. Simplicity and Dignity "Cimplicity is the one vital thing," she said. "A little while ago it was the girl who jazzed in and tried to get over a piquant personality who got the chance to try out. Anything striking enough to attract attention helped, whether it was make-up, dress or a certain 'line.' "But not today. Producers are looking for girls who can look and behave like real ladies. Anyone can take on the manners of a tough, but no one not a gentlewoman can show breeding. "Be as simple as you can in clothes, colors and actions. Select plain little dresses that become you, in colors that set off your particular personality. Carry yourself well and speak in a low, clear voice. "Simplicity goes in acting, too. It is far more effective than chewing the scenery. For example, in the 'Volga Boatman,' Victor Varconi has to strike Bill with a whip, after showing an ungovernable temper. Bill does no more than narrow his eyes while a ghost of a smile plays around his mouth. But there is more menace in his single glance than in all the raging of Varconi." That Elinor Fair follows her own good advice was shown by the dress of fine Alice-blue flannel she was wearing — a dress simply trimmed in the daintiest of narrow braid, and matched by the plain felt hat. And talking of careers, when Elinor was a tiny baby in Richmond, Virginia, her mother dedicated her to fame. The baby learned to dance almost as soon as she began to walk. When she was eight, her mother took her to Leipsic, Germany, to study the violin. From Leipsic they found their way to Paris, France, where the little girl was given masters to teach her voice culture. She can remember walking with her nurse in the Luxembourg springtime doing breathing exercises as they went. Studied Abroad Then came Brighton, England, and a course at a girls' school. But always she danced, and at length at the ripe age of fourteen Elinor appeared on the stage of the Alcazar Theater in San Francisco doing two solo dances in a musical comedy. Moving pictures seemed to offer greater opportunity than anything else, so presently the mother and daughter journeyed to Hollywood. Fewer girls were storming casting directors' offices then, and presently, on Elinor's fifteenth birthday, she received the plum of the part of the little cripple girl in "The Miracle Man." "Lon Chaney used to make me up," remembered Elinor, "and I learned so much from him. That picture made him famous. Then I had a part with Adolphe Menjou in Mary Pickford's 'Through the Back Door' — and right after that Menjou became famous. I was a mascot, they said. "And so it went — I worked nearly always, but rarely had good parts in g pictures. I was beginning to be terribly discouraged when I was cast to play the girl with Buck Jones. . . . And see what happened !" There we were back again at the new house, discussing the right place to find those clear red bowls that add a touch of color to one's living-room, measuring the width of a window-seat, and arguing about the best shade for the summer slip-over covers — if one should decide to use such things. "Marriage and careers mix very well," observed Elinor. "We've been married two months and I still think of Bill as my 'boy friend.' Isn't that wonderful?" Y OU cant afford to be without the cTVTOTION PICTURE CLASSIC J ^