Photoplay (Jan-Jun 1930)

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i3o Photoplay Magazine for April, 1930 Askin pearl-white — let this bleach cream make it yours Never let tiny color blemishes distress you. Remember — beneath them lies the natural beauty of your skin, the fair white skin you'd love to wear with the new, revealing frocks. Your skin can be made naturally white, soft, and flawless. Face, neck, back, arms, and hands may be harmonized into an ensemble of fairest beauty. But not through the use of ordinary creams, powerless to whiten. Golden Peacock, a bleach cream only, is the secret. A scented film of Golden Peacock is applied at night. As you sleep, the stains and discolorations, tan and freckles, are safely absorbed, leaving the skin smooth and white. . . Many thousands of women use this delightful bleach. At toiletry counters, in $1 jars. Golden Peacock bleach creme CANOE-BIAL BLISS A silent stream through a tunnel of trees . . . now and then a leaf sifting down to float as lightly as your "Old Town Canoe." A stroke of the blade to urge you on . . . now rest . . . now stroke again. There's nothing like idly gliding in an "Old Town Canoe"! Actual Indian models are used in the making of "Old Towns." That's why they're so easily handled, so well-balanced, and so exceptionally steady. Their durability comes through modem manufacturing methods. Free catalog shows paddling, sailing and squarestern models. As low as $67. With sponsons if you like. Also shows big. fast, seaworthy, allwood outboard family boats; rowboats; dinghies; "and speedy step-planes. Write today. Old Town Canoe Co., 124 Main St., Old Town, Maine. Old Town Canoes" No, this isn't a big circus cook-house. It's the way the picture companies feed the talkie extras in Hollywood. This is lunch hour at Metro-Gold wyn-Mayer, and the chorus folk all sit down in the studio and break bread together. One big — grrrrr! — happy family No longer was the problem of entering a school of dramatic art just a day-dream. It was now the one absorbing question — the one dominant purpose — of Greta Gustafsson's life! CHAPTER FOUR— A Real Actress ONE July evening in 1922 a worried gentleman walked down one of Stockholm's busiest streets. A thousand problems beset his mind, for he had just secured financial backing for a film-. Work was to start in two weeks — and he had found neither his story nor his extra people! The cart was before the horse with a vengeance. The film was to be a bathing suit comedy in the Mack Sennett manner — and he had everything but the main idea and his beauties! A display in the window of a shoe store caught his eye. He stopped. Then his eye fell on a girl standing beside him. He was struck by her beauty. Her regular features would photograph well. Her figure was plump and girlish. "That's the girl for me," he thought. But the girl had noticed his gaze, and found it unpleasant. She tossed her head — and was lost in the crowd! So Erik A. Petschler, film director, stood there feeling foolish! The moment had passed. And anyway, could a gentleman ask a passing lady whether she would like a job in pictures? At any rate, he hadn't. But again Greta's kind fate stepped into the drama. Two days later he took two feminine members of his troupe into Bergstrom's to look at some hats — and there was the girl of the shoe store window! She also recognized him, and learned who he was. "Too bad!" thought Petschler. "A salesgirl can't leave her job to act!" He left when his purchases were made. One of his girls, however, remained to have a hat altered. She was Tyra Ryman, one of Petschler's most promising pupils. Miss Ryman chatted with Greta. The shopgirl asked if there was a chance that Petschler would give her work in his film. Miss Ryman told her that she was perhaps the answer to the director's prayer. Greta decided to phone him the next day. "To this day I think this is the boldest thing I have ever done," says the star. Now let Petschler finish the story. "Greta Gustafsson came to my office to talk matters over. I asked her to speak something, and without hesitation she recited a school piece or two. She did well. Then we talked of her possible engagement, and salary. "The latter was small, but she accepted. "I tried to get her summer vacation changed to the time I intended beginning my picture, but the manager said firmly that no changes could be made in the set holidays. There was nothing for it but to tell Miss Gustafsson that I could not think of jeopardizing her position." Then Greta made the great decision. "I dbn't care about my holiday — or my wages, either," she told Petschler. "I am going to act in your film!" So it was that Greta Gustafsson traded the steady life of a shopgirl for the transitory, tricky existence of the stage and screen. From now on she lived, with her whole soul, for the theater. "I told my mother of my decision," says Greta. "As always, she stood by me. Her only answer was — T think you know what is best for you!' " Thus, for the first time she came before the public, as one of a trio of bathing girls in "Peter the Tramp." She attracted no particular notice in this tiny part. Petschler said he would give her more and better parts in coming pictures— but a long time was to elapse until this came true. GRETA'S contact with professional actors in this film told her that she must have real professional training — and immediately. In her need she turned to Frans Enwall, formerly instructor at the Stockholm Dramatic Theater, and at that time a private coach in dramatic work. Says Greta — "I said to him, as young people always do to older people of the theater, that I MUST become an actress, and asked how to go about it. He told me to try for admission to the Dramatic School, and helped me to this end. "In August came the great day of testing. If one failed, that dream was over. And in September I would be seventeen years old! "I approached the ordeal with mixed feelings— of heavenly bliss and extreme panic. On Every advertisement in PHOTOPLAY MAGAZESTS is guaranteed.