Motion Picture Magazine (Aug 1924-Jan 1925)

EMOTION PICTURE" 101 | MAGA7INE L. $100 a Week "Wouldn't you like to earn that much, too?" "I know you would, Bob — think what it would mean to us! It worries me to see you wasting the best years of your life when you could make them count for so much. "Can't you see it, Bob? Don't you see that the reason men get ahead is because they train themselves to do some one thing just a little better than others? "If the International Correspondence Schools can raise the salaries of other men, they can raise yours. If they can help other men to win advancement and more money, they can help you, too. "I am sure of it. "Don't let another year slip by and leave you right where you are to-day. Let's at least find out how the I. C. S. can help you. Let's mark and mail this coupon right now!" ~WTERNAfioNAL~CORRE8PONDENCE 8CH00LS Box 6563-B, Scranton, Penna. Without cost or obligation on my part, please tell me how I can qualify for the position or in the subject oefora which I have marked an X: BUSINESS TRAINING COURSES Business Management Industrial Management Personnel Organization Traffic Management Business Law D Salesmanship □ Advertising D Better Letters □ Show Card Lettering D Stenography and Typing □ Banking and Banking Law D Business English "Accountancy (including C.P.A) □Civil Service _Nicholson Cost Accounting DRailway Mall Clerk □ Bookkeeping □ Common School Subjects a Private Secretary □ High School Subjects Spanish D French Q Illustrating TECHNICAL AND INDUSTRIAL COURSES ^Electrical Engineering "(Electric Lighting 3 Mechanical Engineer ^Mechanical Draftsman 3 Machine Shop Practice ^Railroad Positions UGas Engine Operating 3 Civil Engineer 3 Surveying and Mapping, ^Metallurgy Q Mining 3Steam Engineering □ Radio n Architect H Architects' Blue Prints □ Contractor and Builder □ Architectural Draftsman □ Concrete Builder □ Structural Engineer □ Chemistry □ Pharmacy □ Automobile Work □ Airplane Engines □ Agriculture and Poultry, O Mathematics Namt i ■• Street Address City BUte.. 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The audience howled the fat bully out of the box, and that was Buster's last smile on any stage!" On the bill with the Three Keatons was a prima donna late of the Metropolitan Opera, as the program stated. She felt far above the animal acts and acrobatic turns associated with her — and showed it. Naturally, her associates had no great love for her. One evening as bowed majestically some velvet train Ruth Clifford spent her fifty cents for ten dishes of ice-cream! she finished singing, and swept her handabout preparatory to leaving the stage, a small figure dressed as a comedy Irishman strutted from the wings after her, with a burlesque of her grandiose air, and seated himself squarely on the train ! Unaware of what had happened, the singer paced regally off the stage, dragging the train with its passenger after her, while the audience cheered with delight and Buster acknowledged their plaudits by bowing to the right and left. Rod La Rocque's mother has two tales to tell of his bread-and-jam days, one of the time when he was seven and played the part of a bugle boy in a melodrama called "Crimson Valley." His part was to stride out, speak some noble sentiment anent "home and, mother" and, raising his bugle to his lips, bulge his cheeks out valiantly while a real bugler played Taps behind the scenes. On this particular evening, while his mother sat in the front row as usual, she saw Rod deliver his line, raise his bugle and puff out his cheeks. But no sound came ! "Taps" was smoking a cigaret at the stage door and had missed his cue. Terrified, the little boy kept his posture for a moment, then lowered the bugle, and as he removed it from his lips a tardy Taps rang clearly from behind the scenes! In the face of a catastrophe so overwhelming, there was only one thing for seven years old ! Advancing to the footlights, Rod leaned over and inquired anxiously, "Mamma, what shall I do?" Another family anecdote which has the power to make Rod La Rocque blush and squirm, dates back to his East Lynne period, when he was about ten. As Little Willie, he was supposed to have an affecting scene with his old nurse, Madame Bean. "Will it be very bee-ywe-tiful in Heaven, Madame Bean?" Little Willie had to inquire. "Yuss, yuss, Willie," was the governess' reply, "but what makes you think you are going to die, Willie?" To which he was supposed to respond by relating a touching dream of Heaven and the angels which he had just had. The actress who played Madame Bean was an old marplot, detested cordially by the whole company, so one evening the leading man took Rod aside. "Kid," he queried significantly, "how much would you do for a dollar?" When the death-bed scene came that night, Little Willie lay in his trundle -bed, but clutched in one hand under the covers was the dollar. "What makes you think you are g-g-going to die, Willie?" sniffed Madame Bean. Looking her straight in the eye, Rod replied in a voice that could be heard to the last gallery seat, "I know gol-darned well I'm gonna die !" Madame Bean's stage grief became real hysterics and they had to lower the curtain precipitously. Ice-cream for company dinner at Ruth Clifford's house always suggests this story to Ruth's mother. "There never was such a child for ice-cream," she relates ; "she couldn't let a day go by without at least one dish, and I was worried for fear she would ruin her digestion. So I promised her five cents for every day that she went without any. For ten days she remained away from the corner drug-store and I was overjoyed at the thought that I had broken her of the ice-cream habit. I paid her the fifty cents that she had earned and she disappeared. When she came back half an hour later she looked sick, and in another moment there wasn't any doubt about it ! She had taken the fifty cents to the drug-store and bought ten dishes of ice-cream — 'but that's what I wanted to earn the money for!' she explained." It's hard to imagine Norma Talmadge the victim of unrequited affection, but her mother, "Peg," as the girls have always called her, relates with a twinkle the tale of once when Norma was thrown oyer. At fifteen Norma was working at Vitagraph out of school hours, and gabbling over a Latin grammar between scenes. (Continued on page 95) Forgetting she had her blackface make-up on, Norma rushed down to greet her youthful beau Every advertisement in MOTION PICTURE MAGAZINE is guaranteed.