Photoplay (Jul-Dec 1928)

102 Photoplay Magazine — Advertising Section IYou try it first on a single lock of your hair to see what it does. Thus have no fear of results. Gray Hair Test new safe way at home DON'T believe your hair is hopelessly gray until you have made this amazing test ... have tried science's latest way to regain natural shade. Broadway's stars say it's amazing. 3.000,000 women have proved its safety. A colorless liquid called Mary T. Goldman's Hair Color Restorer does it. Simply comb it through the hair. Natural shade quickly replaces gray and faded streaks. Auburn hair reverts to auburn — black to black. No dangerous messy crude dyes everyone can see. Nothing to ■wash off. Makes hair live looking and lustrous. Keeps easy to curl. For free test send coupon — or get bottle at druggist. Few cents' worth restores perfectly. Money returned if not amazed. 2 Then simply comb this water-like liquid through your hair. Clean . . . safe. Takes 7 or 8 minutes. 3 Arrange hair and wa'eh color gradually creep back. Restoration will be perfect and complete. ■TEST FREE Mary T.Goldman, l oS-M Goldman Bldg., St. Paul, Minn. Check color: Black dark brown medium brown auburn (dark red) light brown light auburn blonde [Print name] Name . Street . City . . . MARY T. GOLDMAN'S Hair Color Restorer BE A JAZZ MUSIC MASTER Play Piano By Ear Play popular aong hits perfectly. Hum the tune, piay It by ear. No teacher— self -Instruction No tedious dins-dons daily pract.ee— just 20 brief, entertain* Ing les3on3. easily mastered. At Horn© in Your Spare Time Send for FREE BOOK. Learn many stytea of bass and syncopation—trick endings. If 10c (coin or stamps) is enclosed, you also r Large Photograph Given Of Your Favorite Movie Star, size 8x10. with every order of $2.00. BEAUTIFUL PHOTOGRAPHS 3 for SOc 7 for $1.00 15 for $2.00 23 for $3 00 40 for $5.00 FREE 3 LARGE PHOTOGRAPHS with every $5.00 order Send for your favorites HOLLYWOOD SCREEN EXCHANGE l>ra».r\.|, li. .pi. i'. Holly wood, Ca lit. Why Ramon Novarro Decided to Remain in the Movies CONTINUED FROM PAGE 58 he had no choice of stories, no selection of interpretations. Then it was he began to visit "El Retiro" (The Retreat) at Los Altos, California, to commune with the holy fathers. Then it was he began to contemplate singing as he had in the beginning. And while in Germany, a few months ago, there came the definite opportunity to tour the continent singing! A N opportunity just as Ramon had always -^Visualized it: A program of ten songs, an orchestra, a change of costume for each rendition, scenery which would emphasize the emotional interpretation of each individual selection. His idea has always been to interpret music through song, color and emotion. And yet, with the opportunity in hand, he hesitated. And after all, what did it offer but a perfect motion picture setting for his singing? How few people would hear him under these conditions? To what a select group must he bring his musical message in comparison to the number to whom he had brought his dramatic interpretations in the movies? How did he know that he would be successful? A letter from his studio, Metro-GoldwynMayer, informed him that a talking stage was to be constructed. It told of plans for him to sing upon it. The concert stage meant freedom, choice of his own songs, his own interpretations. But the movies — "I'll still be under orders. I'll still have to do things which are unpleasant. "But every song I sing will be perfect, every, setting as beautiful as the best experts can make it. "I won't have to troupe hither and thither. And I will be able to sing for all of those who already know me." Thus, in Berlin, did he repudiate the cone stage. "As for the priesthood — " We can picti him standing on a hill back of an old mon. tery in Spain where he made this decisic "After all, life is nothing without religion but doing your work and your duty is religii No one goes free "Even though I entered this monaster) should probably find something which woi prevent me from the absolute freedom I ha been seeking. "To go into the priesthood in order to avi the worries of the world would make mel coward rather than a helper for my religion."! And there came to him a parable told by 1 mother when he was a small youngster: A priest went to the Sacred Heart pleaded for a new cross, claiming that the which he carried was too heavy. The Sacred Heart took him to a room w! contained all of Life's crosses. " Choose !" he instructed. HPHE priest looked at each one. Huge cros •*■ small crosses, medium-sized crosses. In one corner, far away by itself, a croi small it could scarcely be distinguished. "I will take this one," he offered. "And that is the one you are already bee ing," the Sacred Heart responded. "And I knew that my cross was like that Ramon concluded. " I knew that I should gi of whatever talents I have through the motii pictures which have helped to develop the for me. 'In them I can sing as well as act and, wh I can no longer sing or act, I can direct sin. ing pictures. "I will secure a contract which allows me work six months and study languages and n! religion during the others. "I shall no longer long for the one thing I the other. "I shall blend them all by remaining motion pictures." Filming two scenes at once. Colleen Moore, in the right background, exits from the set on the right into the room at the left without getting out of camera range. Director Mervyn Le Roy introduced this trick of continuous photography for a scene in "Oh Kay!" Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.