Photoplay (Jan-Jun 1929)

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CAMERA!! !><|Q50 Be your own camera $, ! man taking action movies of parades, I evcnt.s. etc. Or play parts yourself, seeliow well you screen while your Irleuds "shoot" you in action. Vicara Standard MovieCamerat^kes 25 ft. of standard film. Equipped with F..'> Universal lens. Loads in daylight. Film developed free. Film can be shown from any standard projector. ORDER TODAY C. O. D. OR SEND lOc /AT .STAMPS P'OR ILLUSTRATED BOOKLET VICAM PHOTO CO. },«,«.«oit?gr.';''?i: He has me under contract now and is trying to get me in at Paramount." And then we talked over old days at the "san" and both were glad that we were well and happy. I heard about him off and on. I saw some good notices on his work in "The Plastic Age." He did a couple of other things for Paramount, including falling in love with Clara Bow. T^PIERE was much about Gilbert in the ■* papers during the Bow-Savage scandal. .\nd when his and Clara's engagement was broken she said that she loved him more than any man she had ever known but that he was too temperamental. I smiled at that, remembering how he used to stalk out of Williams Hall. I think somebody told me that he had been let out at Paramount and then I saw that he had been signed by United Artists to play opposite Norma Talmadge in "Camille." And since that time, of course, the spotlight of publicity has been thrown on Gilbert Roland. He played with Norma in "The Dove" and "The Woman Disputed." He went to Honolulu and then to Paris. He became, so I heard, a suave man of the world. I also heard that he was upstage. I gathered that he was even more impossible after he signed his new long term contract and was given the lead in Norma's new talkie, after the rumor that Eugene O'Brien was to do it. I was, somehow, afraid to meet him. I had been fond of the boy. I felt that there was a real artist behind the moods and intensity. I didn't want him to be changed, but I felt that it was impossible for him to have gone through success and notoriety and gossip without having it affect him. His press agent and I sat in Joe Schenck's office. Gilbert had been told that I was there. He would be over in a few minutes. Pie opened the door and stood for a minute in a careless brown suit and a dark blue shirt open at the throat. At least he had not worn the clothes of the man of the world for me. I saw that he had changed, of course. He was five years older. He had become a celebrity. He was more poised, naturally, but there was a certain sadness in his eyes, a certain trapped bafflement. T_TE had changed, but he had not become -'■ -•■conceited and impossible. Except for the dignity that his years of success had given him he was the Louis Alonzo I had known at the "san." He was the same lad who had sat before the fire and talked and played bridge and danced when he shouldn't. He did not try to impress me with his grandeur. We were still friends. It was just the same. He walked toward me with outstretched hand. " You're looking well, " he said. And I, with the key to the password, answered, " You're looking well, too, Gilberi." Married or not, Doug Fairbanks, Jr., and Joan Crawford are giving a perfect exhibition of a bride and groom, right down to the last spat and sequin. It's all for a scene in Joan's big starring picture for M.-G.-M., "Our Modern Maidens." P. S. Has Doug a haircut, f'eaven's sake? Every iidverllsemciU in PHOTOrLAT lUGAZINE Is Buararteed.