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WHAT'S THE TRUTH ABOUT THESE FEMININE FEUDS? CAN WOMEN STARS WORK HARMONIOUSLY IN THE SAME PICTURE? CAN THEY EVER BE FRIENDS? BETTE DAVIS KNOWS ALL THE ANSWERS
LEON SURMELIAN
i HE greatest concentration point of the modern Scheherazades and hour is in the world is Bagdadon-the-Pacific. Here, in what is surely Allah's sunn)' paradise for contemporary women, the elemental sweethearts of the race are congregated in great potent numbers. The rest of toiling, warring, repressed mankind hang cockeyed from the honeyed lips of our cinematic charmers as they tell
one thousand and one variations of the same old siren song — a song that Hollywood sings lustily.
"The best thing I have seen in America is the American girl," said Count Keyserling in a long lament on the decline of the male sex in the New World. The bearded old philosopher was fascinated by our flappers. Europeans are struck by the all-around superiority of American women as compared to the males. Women rule A m erica, they say. Danielle Darrieux, Isa Miranda, Miliza Korjus, and other imported glamor girls have told me of their amazement in discovering the roles of the sexes entirely reversed in America.
And the extraordinary phenomenon that is the American woman has reached her highest development and independence in Hollywood. If women rule the rest of America more or less, here they enjoy dictatorial powers. Hollywood is a women's town any way you look at it, and the real fig'ht here is among women. Our screen is a feminine monopoly, in every way. Women make or break the stars of both sexes. Your average woman star is a stronger personality than your average man star. She has more dash and individuality, is better informed, reads more, talks better, has a more inquisitive and tolerant mind, and in physical vitality is more than a match with men. If it weren't \_Contimicd on page 88]
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.n for each other, .ona Massey keep a o's. Love vs. food