Motion Picture Classic (Jan-Dec 1920)

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Hawaiian Guitar. Ukulele. fiuitar, Mandolin. Comet, Tenor Banjo or Banja WonJrrrul new nystcm of tuikchlnn note musto by mntl. To first liui^lln In <uih Iwuliiy, wo Rivo D Vi^ Bupyrb Vtolln. Mandolin, llhul'l-. CulUr, Huwiitln Cultar. Comet, T«n..r Itaajo or Bunju ubnolutf-ly Uen. Vtv iimiill churtfo for Ic-uiooB only. Wotruuinuitco nuiri'wi crno chiu-iie. Completo uutJit f rua. Wrltooow. NoohlinaUoo. SUNQEBUND SCHOOL OF MUSIC. Inc. Oept.lB CHICACO. lU Don't Risk Material In Poor Dye Each imekane of '•Diiiiu.Mid Dyes" conlaiiiM directions so »imi>lc tliat any woman can dianionil-dye a new. ricli failclcsn color into worn, aliabby dresses, blo\iaes. *toc'kin«s, sweaters, draperies, coverings, everytlimf;, nlictlier wool, silli. linen, cotton or nii>ce<l >;<>mls. Buv "Dianiond Dyes"— no otlier liind— tlieri perfect roiults arc guaranteed even if you liave never dyed before. Uru^yist bus "Uiamond Dyes" Color Card. i6 Rich, Fadeless Colors Nancy Manages {Contiuiicd from page 60) time.s," slic added decisively, "I rule them both ! "So, I had uiv way. and stage-managed m\self around the world, going to school wherever we traveled at hours that suited my work. It was not a 'regular' education, of course. But dont vou think that a girl who has traveled in Australia, Great Hritain. France, Spain, Germany, and Cuba, learning nearly all these languages and business-managing herself into jobs wherever her father's business took him, has learned .toxic thing? -And the trouble I had with the Gerry societies and children's societies and the like. I never could see what the fuss was about, I was just being myself. Even after I was old enough, 1 was always having to explain myself because I was so sinall they wouldn't believe me when I did tell the truth. But I always managed !" Nancy Deaver's first stage appearance in America was about four )'ears ago with Fred ^^'alton, the English pantomimist, as the IFa.r Doll. Needless to say, her success was assured. And then, being, as she says, grown up and able to manage a "regular" career, she has worked steadily in musical comedies and vaudeville, always in dancing parts. Until last winter, Nancy had never appeared in a picture. She always intended to, she says, but was cannily biding her tiuie and watching her chance. One day she met Charles Miller, the director, whom she knew very well. "Nancy," he said, "I'm thinking of producing 'East Is West' and I want you as the Chinese girl." "Me? I should say not! I'm not the type and I dont want to be a Chinese girl." "Never mind what you want," he said, ■'come and let me make you up." "Anyhow," I thought, "here's a chance to learn something about screen make-up. And when he had put a black wig on me and fixed my eyes so they slanted, I didn't know my.self. But it happened that instead of producing 'East Is West,' he produced 'The Law of the Yukon,' and I was given a leading role. I played the part of a young girl whose father kept a dance hall. I was very carefully looked after by my father in the story, but I had a chance to dance in the picture, so I liked the role very much. "Well, I have traveled nearly all over the United States and thought I knew something about cold and snow, but I'ort Henry, up near the Canadian border, where the picture was made, was the coldest place in the world. We were up there fourteen weeks. Lots of times it was too cold even to work, but it was perfectly glorious and was surely just the right tei'njjerature for that picture. The queer characters ]Mr. JMiller unearthed as extras, and what he got out of them, was uncanny. "Thi.s is ancient history, but we were up there at Christmas time, a bit lonely (Continued on page 88) (F.!(lhty-si.r)