Motion Picture Classic (Jul-Dec 1928)

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FREC OTHINE Removes This U^ly Mask There's no longer the slightest need of feeling ashamed of your freckles, as Othine — double strength — is guaranteed to remove these homely spots. Simply get an ounce of Othine from any drug or department store and apply a little of it night and morning and you should soon see that even the worst freckles have begun to disappear, while the lighter ones have vanished entirely. It is seldom that more than an ounce is needed to completely clear the skin and gain a beautiful complexion. Be sure to ask for double strength Othine as this is sold under guarantee of money back if it fails to remove your freckles. VALENTINO'S PHOTOS Start aMovie Album Be iK Wise 14 late,"!! photos, 50c each. 12 for S'>. -Mst) scenes from his pla.vt*. .tO or more from each, 25c per picture. Photos of your favorite h or scenes from their recent produch. All uriEinnls, SxlO inches. tor rurrcncy. iiion< y order or I'. S. 2c ■ order accepted for Ics.s than 5 sccoch. uiul have nncMt collection of movie star <ir<|.r uidui (ilioto.. SRram ^fiirlinc nt'Pnrtmcnt A-2 . Dram oiuaios 729-7111 avc. xcw V( Marie-and-Ken {Continued from page 26) Club. They saw Marie smiling her baffling little smile whenever any of her best friends told her of Ken's latest affair, they saw Kenneth Harlan — lunching with the affair — twist in his seat at the Montmartre to follow Marie's saucy little figure with hea\y eyes. They saw Marie going to parties with other men, and Ken going to parties with other girls. Four months went by without a word exchanged between them! Then Kenneth began to call a familiar number on the phone, asking Marie to go out with him. It isn't something you decide, exactly," Marie explains. " It's something that's decided for you. You can't say, 'I'll love such an such a person' or 'I'll stop loving such and such a person right now.' We've both been married before — Ken was married twice, and it wasn't the same thing with either of us." Kenneth Harlan was at the height of his screen popularity, a handsome, debonair leading man with a profile like Wailie Reid's, a charming smile and the figure of an athlete, when Marie Prevost fell in love with him on the screen, along with several thousands of other schoolgirls who pasted his picture in the front of their algebras and Ciceros. But it was some time later before she was to meet him on a studio lot, when they were cast opposite each other in "Bobbed Hair." "I suppose," Marie admits, "that I was really hired to play opposite Ken, but I thought that he was being hired to support nte and I tried my best to have him fired. That was the first day. The second day I decided to make the best of it, because he really did have a mar\-elous profile and broad shoulders; and the third day I fell in love with him. Ken says that he was in love with me two days before." At that time each of them was married and separated from a husband and wife. There were two divorces to be gained before they were free to marry, but legal formalities did not keep them from being in love. Engaged, married, separated, divorced, happy, unhappy, -Marie Prevost and Kenneth Harlan have been -Marie-and-Ken ever since. And that is over seven years. " I've never seen anv other man I could n't forget," says Marie, "that's on^ll reason I left Ken eight months ago. thought maybe I could forget him, and wanted to be sure. I gave myself plenty o i chance to find out. I went to parties ancil dinners and openings with other men. Keri went even further than that. He got en\ gaged while we were separated!" She explains hastily, with due regard foil the conventions, that she wouldn't go out with Ken while he was engaged] "Hollywood has a code of etiquette injl these things." If one's husband is engaged! to someone else, it's not de rigueur to acceptjl his invitations. _J It wasn't, she says decidedly, one of tho^' marriage vacations. They don't believe them, Marie-and-Ken. People marry tpl] be together and as soon as they stop wan^U ing to be together the marriage ends. "It was just Hollywood that was tij trouble with us. I've had a chance these la eight months to sit back and look at lif<| and I've found out you don't stop carir for anyone because of his faults. Ya might as well keep a husband whose fauH you are accustomed to as change him fd another one with a new set of faults." That's Marie's theory of how to happy though married, and she ought know. She's been almost, quite, partly hardly, and still married to Kenneth Haria and she says that this time she's per manently married. Marie Prevost has been through a goc deal of intensive living these last . few months, She lost her adored mother. She tried to divorce her big, blonde Ken. Her career suffered, and she. did not care. -She let herself grow too fat. And then, suddenly she reduced, bleached her dark curls and made "The Godless Girl." "I had to become a blonde — to win Ken back," she shrugs, " but that's all the chang ing I'm going to do. The rest is up to hir She gives a little chuckle. "We though! it was all over, but the other day when th« mail came. Ken opened a letter and began tq laugh. It was the bill from my lawyer. I said to Ken, '.All right, you've got pay half of it anyhow.' So we're saving ut now to pay for not being divorced." The Celluloid Critic {Continued from page jj) No mere telling of this story can do it justica. With no ballyhoo it fairly commands your attention. It doesn't sag for a single moment. And it is capitally acted by Clive Brook, William Powell and Baclanova. See it and be entertained as you haven't been entertained since "Underworld." Another crook story, "The Perfect Crime," is not so hot. It tries to prove that there is no such thing as a perfect crime. .■\nd does it by a detective experimenting with a pet theory of his own. In other words, it relies upon a v-ariation of the w. k. dream situation. Clive brook, portraying the central character, attempts to prove that a perfect crime can't be committed. Then he proceeds to present one in a manner which keeps one very mystified. \Vhich is to say that the strings aren't well tied together here. It's difficult to follow, and the sound synchronization doesn't help matters any. It's a whale of an idea, and had it been treated more evenly — with an eye upon its dramatic strength, it would have registered higher with me. The film should have discarded the dream and gone ahead on its premise. It might have not furnished the nappy ending, but at least it would have declared a holiday for sere reality — a virtue which is none too coii spicuous on the screen. "Lilac Time" affords Colleen Moore wit an opportunity to flash emotional fire gift which she has in abundance, though f^ some unexplained reason she is supposed ' be at her best as a comedienne. A litt better shuffling of the celluloid card wouldn't harm a flock of the boys and girk It hasn't harmed Colleen — who, in tli' sentimental excursion in martial pastur has a picture which won't lose her foltowin and which will add to her celluloid lustre. The film is bounded on all sides by ro-'] mance. Colleen playing the r6le of a Frenc peasant girl who falls in love with an aviatojj billeted at her modest menage. It is unpretentious story, but made genuii through its air exploits and the first-rate ' backgrounds. There is a fine air battle anJ some other aeronautical feats which deser\ backslaps. Gary Cooper, had he been lessl restrained and colored his rdle more, vvouldj have added considerable to the film's appeal^ But he is too restrained — and the best par of the sentiment misses some necessar heart -beats. SO