Photoplay (Jan-Jun 1929)

Photoplay Magazine — AovKinisiNG Section 127 artist to idolize, and he happened also to be a man to love. 1 lost all personal ambition. I ju.st rested. " But I love money — " "Then it's true?" I quavered. "Oh, yes," said Betty. "I live for love and money. I decided to go forth and earn money. Art had failed me. I'd take any part in any studio that would pay me. Sb I went into Poverty Row — the little studios, you know, where a picture is produced in ten days at a cost of twenty thousand. "I took any part they offered, so long as they paid my salary. And that's how I came back, just working." Betty, they tell me, pulled down one hundred and twenty thousand smackers last year in the less pretentious studios. And all the time half a hundred second rate stars were holding out for parts that suited their ego and salaries that they were never worth. I HAD heard that one of the great studios offered Betty an enormous salary to do two pictures this year. " But between pictures you mustn't work in Poverty Row," said the executive. "You can't afford to, with your prestige." "The devil I can't," said Betty, or something equivalent. "I certainly shall work in Poverty Row whenever they offer me my salary." She went forth and signed up for fourteen pictures for this year. Some will be done in dc luxe studios, but most of them will be done in Poverty Row. Still I did not understand how the love of money could be reconciled with an open house where extras as well as stars are welcome to eat and where money has been offered in an open bowl. " From a child I've had the fear of poverty," explained Betty. " Jlother and I were terribly poor. "I used to play the violin in concerts in httle towns, mother accompanying me. (Jnce I had to be a servant girl, at another time a nursemaid. "In the studio there is an old woman who plays an organ with her son, just a boy, accompanying her on the violin. They play for our emotional scenes. Every time I look at that old woman I see my mother. My mother is much younger, but still I think of her in that old woman. .\nd so I send out to my car for the rug to put over the old woman's knees, because the studio is cold. Fortunately my mother has a beautiful home and all the comfort she wants; together, she and I, we've managed to escape the cruelty of poverty, but I've never been able to shake the fear. I want money, money, money, so that everyone I know may escape that awful dogging fear that was ours through so many years. That's why we kept the silver bowl. We kept it until I found a guest one evening giving all the money to my servants ' I decided that I'd have to take over the job of apportioning it." Betty and I were chatting in her sumptuous Venetian boudoir. The living room and patio were filled with guests: noted stars, opera singers, and extras who hadn't worked in a year. PAN BOURKE, the actress, broke into the ■*■ boudoir. "Oh, Fan, I have been given some wonderful silk stockings, ' ' said Betty. "The silk company gave them to me. Here is a pair for you. .^nd Herbert Howe, will you accept this silk scarf? . . ." Jim Cruze interrupted with, "Hey, Betty one of your old lovers is on the phone and wants to talk with you ..." Betty answered the phone and invited the old lover to the open house. "There you are," said Betty, as she put down the receiver. "Can you blame me for being infatuated with a husband who puts an old lover on the phone? Now I must dress to receive the old lover." On departing I asked Jim Cruze what he ■C()(a5£Lj^ Q^^ THE BEAUTY THAT IS AGELESS HAS KNOWN UNCEASING CARE BEAUTY need not be fleeting. If you will give your skin a little care — faithful, daily care — its youth will last for long, long years. The lines that deepen into wrinkles at the corners of a woman's eyes and mouth are caused primarily by a sluggish circulation, and by the drying effects of exposure. 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