Motion Picture Classic (Jan-Jun 1929)

PHOTO Enlargements Hand Colored In Oil Large 8x10 ONLY $2-49 Ju<t to Ret you acquainted with our ''Uperlor uork. we send you a full sue enlaryenient. hand colored la brilliant fadeless oil color size by 10 inches, together with Artistic $2.00 Frame FREE ^fgli^ '^■1 SF.Xn NO MOXKY. Don't (all <K^ '^gl to take advantase of this astound 'M ^1 Intr offer. Just mail your film. ^ » photo or snapshot, statins; color of eyes and hair, and .\ou will recei\'e a bij; 8x10 hand colored oil picture with the valuable frame in one week. Pay postman only S1.4'.l plus postage. No other charges. If you send SI. .50 with order we pay posta'_'e. Satisfaction guaranteed and your photo returned unharmed. UNIVERSAL ART STUDIOS 152 W. 42nd St., Room 1101, Dept. B New York STATEMENT OF THE OWNERSHIP. MANAGEMENT. CIRCULATIO.V, E T( .. HEtJlIUED BY THl'. ACT OF CONGRESS OF ATGrST 24. 1(112. of MOTION' FlfTCRK CLASSIC, published MONTHLY', at CHICAGO. ILL., for |)ril 1st. 1(129. State of NEW Y'ORK. County of NEW YORK. Before me a NOTARY' PUBIjIC in and for the State and County aforesaid, personally appeared DITNCAN A. DOBIE. JR., who. haviiiK been duly sworn according to law, deposes and says that he is' the VICE-PRE^., C.EN'ERAL MAN.\GER of the MoriO.X PK'Tl'RE CLASSIC and that the following is. to the best of his knowledge and belief, a true statement of the ownership, management (and If a daily paper, the circulation), etc.. of the aforesaid publication for the date shown in the above caption, required bv the Act of August 24. 1012. embodied in section 4U. Postal Ijiws and Regulations, printed on the reverse of this form, to wit: 1. That the names and addresses of the publisher, editor, managing editor, and business managers are: Pubhsher. George Kent Shuler 1501 Hroadwav. New York ( ity. N. Y.; Editor, Lau-' rence Reid. 1501 Broadway. New Y'ork City. N. Y.; Manarlng Editor. Laurence Reid, l.OOl Broadway, New York City, N". Y.; Business ^ianaRer. Duncan A. Doble, Jr. 1501 Broadway, .N'ew York City. N. Y. 2. Ihat the owner Is: (If owned by a corporation. Its name and address must be stated and also immediately thereunder the names and addresses of stockholders owning or holding one per cent, or more of total amount of stocc. If not owned by a corporation the names and .addresses of the individual owners must be given. If owned by a (inn. company or other unincorporated concern. Its name and address, as well as those of each lndi\1dual member, must be given.) MOTION PI ,'TITRE PITBLICATIONS. Inc.. 1501 Broadway. New York City N. Y.: (Jeorge K. Shuler, 1501 Broadway. New Y'ork City. X. Y.; Duncan A. Doble, Jr.. 1501 Bro.adway, Xew York (ity. N. Y'.; Silver Screen Publications. Inc.. 1.501 Broadway. New York City. N. Y. 3. That the known bondholders, mortgagees, and other security holders owning or holding 1 per cent, or more of the total amount of bonds, mortgages, or other securities are: (It there are none, so state.) NONE. 4. That the two i)aragraphs next above, giving the names of the owners, stockholders and security holders, if any. contain not only the list <if stockholders and security holders as they appear upon the books of the company but also, in cases where the stockholder or security holder appears uoon the books of the company as trustee or In any other lidu;'iirv relation, the name of the person or corporation for whom such trustee is acting, is given; also that tin said two paragraphs contain statements embracing alliant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders wh > do not appear upon the books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner; and this artlant has no reason to believe Ihat any other person, association or corporation has any Interest direct or indirect In the said stock, bonds, or other securities than as so stated by him. 5. That the average number o( copies of each issue of this publication sold or distributed, through the malls or otherwise, to paid subscribers during the six months preceding the date shown above Is —(This information is required from daily publications only.) DUNC'AX A. DOlilE, Jr.. VICEPltES , GE.N'ER.M, MANAGER. Sworn to and subscribed before me this 25th day of March, 1929. Elizabeth Bentley. (My commls.slon expires March 30th. 1930.) RASHES quickly relieved and often cleared away by a few applications of Resinol FORM DEVELOPED tii; 'Itirrc t'art I roatmrnt is the ONLY ONE tli:it gives FULL DEVELOPMENT without bathing, exercises, pumps or other danj^erOU3 absurdities. I send you a GUARANTEED TWO DOLLAJl 14-DAY FREE TREATMENT If you Fcnii a DIMK toward expenses. (A L;irtrt' Aluminum Box of my Wonder (.'ream included.) Flain wrapper. IS IT WOKTII 10c TO YOU? If not. your dime baek by first mail. Address NOW, with ten cents only iviaaame K. D. Williams, Buffalo, N. Y. Take A Memo, Daddy {Continued from page 39) my business, and she stays here with Anita, neither of us will be happy. I know that. "At one time, I thought maybe we could open a branch out here, and 1 could take charge of it. But that's no go. Labor's too cheap, and not unionized — and our profits are based on a percentage of our costs. We might get plenty of work, but we wouldn't make anything out of it. "Then I thought maybe I'd sell out my equity in the business, and sell the home, and see what I could do about getting a job out here. They need electrical engineers in the studios, especially now with sound coming in. Maybe I'll do that yet. "But the biggest rub of all is how do we know how Anita's career is going to pan out? She's been going fine so far — like a house on fire — but how long will it last? They say the average life of a movie star is five years. Will hers be just that? — -or more? — or less? "And take now, even. She's not making anything like what most people think a girl in her position would. We're living in a furnished apartment without even a maid. I help pay the rent and I help the wife with the housework — and even Anita herself has to help with the dishes. We lived better back in Astoria. They keep telling me to think of the future. Sure, but — • "She and the wife think now's our chance. They want me to chuck everything and gamble on this, to handle her career as her business manager. But I've already made enough mistakes in my life to know the value of caution. If I chuck everything, and Anita's out in five years or less, where'U we be then? "It's a tough proposition, any way you look at it, it's tough." And it's made even more so by Hollywood's attitude toward stars' relatives in general, and fathers in particular. While a mother living on, or working for, her daughter may be only a nuisance, a father is an unmitigated bum. Nor can you blame the town particularly, considering some of the specimens exhibited. The fact that Pomares had sacrificed a good business that would have supported himself and his family, and that he accepted the new status only as a last resort to keep the family together would not be considered. In fact, it wouldn't even be known by many, and the others would soon forget. Hollywood is busy, and no one has much time to spend on anything that will not promote his own job. Pomares would be catalogued with the rest: "another father workin' his daughter." Unfair? No doubt — but would that help his feelings any? " I've tried to figure it out in the only way I know how: as a business proposition. What'll be the best for the family? If I could figure that out, I'd be willing to put up with a few inconveniences to myself. But I can't even do that, there's so damn many if 's. That's the worst part of the whole thing — there's nothing solid to lay your hands on. If I knew for certain that she's going to be a success, or if I knew for certain that she's going to be a failure. But I guess only time can tell me that. "So I've decided that the best I can do is to give the thing time to work itself out of its own accord, to see what indications develop one way or the other. Deferring to Daughter I FIGURE to let things slide till next summer. Then maybe the situation'U be a bit more definite here, and I can go back and talk things over with my business associates. A lot will probably depend on how Anita's work in 'The Broadway Melody' is received — and we'll know that soon. "So now I'm just marking time and trying to be as useful as I can. I've rented the house back in Astoria for a year, with an option to buy. A couple of young fellows I broke in are handling my job, and they seem to be doing it as well as I could. I'm not taking any money while I'm not working; but I still hold my equity, and I'm assured that the next time the stockholders vote I'll hold my job of vice-president if I want it." Pomares sat silent for a moment; then, lookingoff to acornerof the room, he started to laugh. Following his gaze, but seeing nothing amusing, I at last realized that he was laughing at some thought in his own mind. "Funny how it pops up even in little things. Back in Astoria everything was geared to my convenience. But now I have to wait for supper if Anita works late. " It's a funny business all around. I dunno, I can't see a solution at all. Can you?" Scars That Glorified {Continued from page 45) delicate work. The days were long and dreary. The apathetic girl took a morbid interest in reading the biographies of great actresses. She read many, many plays; the first time in her popular young life that Carol had ever found time to do what is known as serious reading. And the surgeon worked on patiently and painstakingly. When the stitches were removed from her face, he came daily for months to massage the scars with olive oil. All Her Beauty Saved AND under his magic hand, the girl be^ came whole again. No scar remained. But it was not the same prettiness as before. Some elusive quality of her beauty had disappeared. A sensuous, seductive something-or-other had gone from her face, and had been replaced by a sad and soulful and slightly tragic expression. And now to complete the parallel between this true story and my mad movie plot, Carol Lombard's friends, eager to revive her interest in life, told her she was as pretty as ever before. That she must remain in Hollywood and go back to the studios. They saw the difference in their friend, the loss of that harmony of feature which produces absolute beauty. And they were abashed by the tragic expression and the new maturity of mind of their gay young Carol. However, they eagerly urged her to stay on and try to pick up her picture work again. Respect — and Chances THIS she did. She visited the casting directors — the busy gentlemen who hadn't given her a tumble before. And these blase persons arched an eyebrow. This girl had changed. Her face had character, which the clever fellows had somehow missed before. .There was a definite appeal in her expression. Her classification in the index was at once changed from "Pretty; good figure"; to "Dramatic possibilities." Her work in the Pathe picture, "Show Folks," as the jealous, scheming chorus girl, won her the second feminine lead with Irene Rich in the film version of "Ned McCobb's Daughter," a Pulitzer prize play. Her excellent work in this part resulted in Miss Lombard being signed to a long-term contract by Pathe. 92