The New Movie Magazine (Jan-Sep 1935)

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I Na Street. | City State LL. . | Canadians should mail coupon to The Charles E. Hires Co., Ltd., Toronto Hollywood s Dangerous to Youth {Continued from page 46) ous you were already? No. They get careless in front of the camera, their second picture isn't so good, their third is worse, and then they're done. "Socially they go crazy, too. Yesterday they were nobody. Today they're asked to dinner at the homes of famous executives, writers, and stars. When they take a trip to New York they find themselves in the homes of people whose names are in the Social Register. They see so many glasses of champagne that they forget what water tastes like, some of them. They've been living on pot-roast and cabbage all their lives, and suddenly they're having lobsters. Their heads can't stand it and neither can their stomachs or their nerves. Equilibrium is impossible for them. They were caught off balance, and they can't get back. The oldtimers know that pictures demand such a terrific amount of energy that it's impossible to keep up such a pace, but the youngsters don't. They go the pace, and it wrecks them inside of two years. Sometimes inside of two months ! "And that brings me to Health. I'm a bug on health, myself, so I'm particularly interested in studying the effect Hollywood has on people from this angle, and the reports I have to give are anything but encouraging. The greater the success you make, in Hollywood, the more your health suffers. Take someone like Claudette Colbert, who is so popular that she rarely gets a week's rest between pictures, and has to read the script for one while she's finishing another. A couple of months ago she went down with pneumonia. About the same time, Miriam Hopkins was in the hospital with bronchial pneumonia. Ann Harding had to take a long trip to the Orient, ill from overwork. Clark Gable, for a while, was so sick that I wondered how he worked at all, although he never let on. I've just named a few, but go down the list and you'll be appalled how often stars go into the hospital. I've seen magnificent specimens of health turned into physical wrecks by two years of studio strain. It's the same answer in every case — nervous strain, overwork, then lessened resistance and inability to fight off the first germ that comes your way. "My point is — if it's so tough for experienced stars, who realize what a strain picture-making is and take constant steps to safeguard their health, what is it for youngsters new to the game, who don't realize what they're up against? "What we call morals are really mental health, and the same danger is present there. A newcomer, brought up with conventional folks, suddenly finds himself in a town, where, last year, there were more divorces than marriages. All his old moral notions go by the board, and, if he is young, he has no sense of balance with which to make up for them. "Spiritually, mentally, morally, artistically, physically, intellectually — in almost every way, Hollywood is dangerous to anyone in the twenties. Any article like this can only be one man's opinion, but mine is an honest opinion, at least, and I give it for what it's worth. If anyone of my own age or less comes to me and asks, "Shall I go to Hollywood?" my answer is: "The benefits you may get out of it are no match for the grave dangers you'll run." JEAN HARLOW,si«r„»j t„ M-G-M'i "Reckless" T2 Is Make -Up in Color Harmony Jean Harlows Florence Vondelle Interviews JEAN HARLOW "Color in make-up must mean color harmony," says Jean Harlow. "And, of course, Max Factor, who creates all the make-up used by stars and studios, has the perfect answer in powder, rouge and lipstick harmonized in color for each type." 1. "To harmonize with my complexion colorings . . . platinum blonde hair, very fair skin and blue eyes . . . Max Factor's Flesh Powder is perfect. So soft and fine in texture, it blends naturally with the skin, creating a satin-smooth make-up that I know will cling for hours." 2. "Rouge should impart a lifelike, delicate flush of color, and I find Max Factor's Flame Rouge the correct color harmony for my type. Creamysmooth in texture, it blends easily and clings perfectly. And here's a hint. ..pat it on lightly; blend with fingertips to gain an added softness of coloring." 3« "Lip make-up is so important. . . it must be moisture-proof; it must be permanent in color; it must harmonize with your colorings, your powder and your rouge. So I use Max Factor's SuperIndelible Lipstick . . . Flame is my color harmony tone. I make up the upper lip first, press my lips together, and then fill in the natural contour.'' Jf You May Now Share the luxury of color harmony make-up, created originally for the stars of the screen by Hollywood's make-up genius, and now featured by leading stores at nominal prices. ..Max Factor's Face Powder, one dollar; Max Factor's Rouge, fifty cents; Max Factor's Super-Indelible Lipstick, one dollar. yvl ax factor * fro /la wood Face Powder, Rouge, Lipstick in Color Harmony Matt for your COLOR HARMONY ■ ST POWDER AND LIPSTICK MAX FACTOR, Max Factors Make-Up Studio, Hollywood, California. SEND Purse-Size Box of Powder in my color harmony shade and Lipstick Color Sampler, four shades. I enclose 1 0 cents for postage and handling. ^AIso send my Color Harmony Make-Up Chart and 48-pg. Illustrated Instruction Book, "The New An of Society Maie-Up" FREE. 31-6-69 COMPLEXIONS EYES HAIR VeryLighr D f*u D G«my a Medium D Ruddy a Sallow D Frtddtd D Ol.w D Blue Q Cray D Gr«n.__0 Haiti D Brown _^D Blait D LASHEStOt,, Light D Dark D BLONDE Lighu.O Dark.-D BROWNETTE Light. -O Dark.JD BRUNETTE Lighi__a Diri<_a BEDHEAD Light. _D Dark„D IfHaSriiCmy.t/iKk lypr o/'[i.f j"J hrr Ci SKIN D.yO Oily a Normal D /WE Junior Hollywood (Continued from page 38) "Nan, you can see anything you want to see, and meet any of the stars you wish." "Well, to tell the truth, Mr. Arnow, the one person I really want to meet is Tom Brown." "Oh, sure — Tommy's a swell fellow, but you see, he's not under contract to Warners." "That's O.K.," said Nan. "But I like him best of all." "That's very fine, Nan — but I think you just better meet Dick Powell and let it go at that." But the old proverb, "Things come to those who wait," proved its value, 'cause Nan, two months later, not only met Tom Brown, but got to play the love interest opposite him in the new Kibbe-McMahon picture, "Mary Jane's Pa." Boy! Was she grinnin' from thar to thar — and Tom thinks she has possibilities, too — on the screen that is, of course. Warners, after seeing the excellent reception Paramount's "Car 99" received at the preview with a cast of practically complete unknowns, have decided to put out some similar junior cast features. Besides Frank Craven, William Frawley, Sir Guy Standing and Russell Hopton, "Car 99" was engineered with new talent — and the audiences seemed to love it. Hollywood preview audiences go in for boosting the newcomers more and more each month — and even the theater managers are beginning to feature new names on the marquees along with one or two of the established stars. If you are really interested in helping put over some of these new young players, persuade the manager of your neighborhood movie house to bill these new ones and help in that way to get the new names established. AND now that that's over, I want to ■ tell you about Mary Bovard, who is a sixteen-year-old girl who never says "die." Five months ago Mary got the idea, in the middle of a history lesson back in school in Bloomington, Illinois, that she'd like to go in the movies. The three o'clock bell rang; Mary tore home, as only Mary can tear, picked up the telephone and put through a longdistance call to Bob Palmer, assistant casting director at RKO. "I'm Mary Bovard. I live in Bloomington, Illinois. This is Mr. Palmer, the assistant casting director, isn't it? Well, I just wanted to be sure. Yes, Mary B-o-v-a-r-d . . . and I want to come out there and be in 'Anne of Green Gables' and 'Laddie' and some of those pictures you're making. I just know that I will photograph well, and I love to act . . ." "I'm sorry, but I can't promise you anything. I've never even seen you." "But if I come out there, won't you please give me a chance?" Operator: "Your three minutes are up." "Well, all right. Good-bye, Mr. Palmer I'm coming out there." And before he could say "don't," Mary and her mother were on the front doorstep of Hollywood — or, I should say, at the RKO studio. Yes, you guessed it. The unusual happened and Mary was given a bit in "Anne of Green Gables," followed by bits in "Laddie" and "Grand Old Girl." And now Mary has just finished a nice part in a short at Universal with Henry Armetta and Arthur Lake. Mr. Von Runkel and Mr. Horn, producer and director, believe Miss Bovard has more than the usual possibilities. Nerve, huh? 48 The New Movie Magazine, June, 1935