Photoplay (Jan-Jun 1935)

PHOTOPLAY MAGAZINE FOR JUNE, 1935 III was ushered into a pitch-black room, pushed into a seat and presto! — a motion picture llickered on a far wall. He watched it in contemptuous silence. The film completed, the lights went up. Mr. LeBaron looked around, to face his publisher who said: "What'd you think of it, Mr. LeBaron?" Said Mr. LeBaron vehemently: "I think it's terrible." Which was the end of his career as an editor and the beginning of his career in motion pictures — his publisher was interested in a motion picture company, and he, too, didn't like that particular film. Mr. LeBaron was immediately assigned to the job of re-editing and re-writing the picture, which he did so successfully that he was given further assignments. Came the day when, because Mr. LeBaron had nothing better to do, it was decided he should produce a picture on his own. His choice of subject was a story he and a girl around the place liked. Her name was Frances Marion, now, as you know, one of the leading scenarists. Everybody else was ag'in' it. Along came a young director out of the West named Frank Borzage. He liked the story, too. The three pooled their talents and enthusiasm. The result was "Humoresque," a howling success and the winner of the first Photoplay Magazine Gold Medal for the best picture of the year, 1920. TWO more pictures produced by LeBaron ' were later to win this honor, "Beau Geste" and "Cimarron," which makes him the only three-time winner of the prize. "Cimarron" won the Acade/ny of Motion Picture Arts and Sciences Award for the Best Produced Picture of the year — the other two probably may have, too, except that the Academy wasn't awarding awards then. In producing "Beau Geste," Mr. LeBaron pulled the rather unusual caper of sending a company from New York to Arizona, which everyone thought was pretty stupid at the time but didn't later when the picture became the sensation of the year. Since "Humoresque" Mr. LeBaron has produced a list of pictures as long as your arm — maybe both arms — first for Cosmopolitan, then Paramount, then RKO-Radio and now for Paramount again. Among the best remembered are "Rio Rita," "Manhandled," "Madame Sans Gene," "When Knighthood Was in Flower," "Little Old New York," "Enemies of Women," "Monsieur Beaucaire," "Sally of the Sawdust" (in which W. C. Fields first appeared in films), "Knockout Riley," "The Quarterback," "The Ace of Cads," and, more recently, "She Done Him Wrong," "College Humor," "Too Much Harmony," "I'm No Angel," "Belle of the Nineties," "Goin' to Town" — but why go on? A FEW of the stars with whom he has been associated besides those already mentioned are Rudolph Valentino, Gloria Swanson, Richard Dix, Marion Davies, Thomas Meighan, Adolphe Menjou, George Raft — but again, why go on? He brought Wheeler and Woolsey to Hollywood for "Rio Rita," which made them headliners. Likewise Edna May Oliver. Also Irene Dunne. All of which goes to showhe's been fairly busy most of the time. While he has achieved success with almost every type of picture, his recent efforts have been chiefly comedies and musicals. He has the rare — I might even say almost extinctgift of knowing quite precisely what he wants and getting it with a minimum of time, effort and excitement. Although he can and does throw out an atomic bombardment of con HOW ^MALLY Like a hard-focus photograph, unsifted powders throw back harsh reflecrions from the face. Silk-sifted Evening in Paris face powder tones down leflections— flatters like a soft-focus photograph. New powder, 3 times silk-sifted, subdues harsh reflections— makes faces look softer, more youthful! EEAL loveliness lies unsuspected in many l. a face ! For ordinary unsifted face powders too often bring out one's worst points! They give the skin a flat, hard surface that causes strong light reflections and throws features and contours into harsh relief. That's why the sudden loveliness — the new delicacy of feature — that appears when you change to silk-sifted Evening in Paris powder so often seems like a miracle! Sifting 3 times through silk has given Evening in Paris face powder a texture so fine and downy that it absorbs light — cannot throw it back in harsh reflections. It subdues overbold features, softens contours, gives the entire face a look of tender, more delicate loveliness. Perhaps you have never guessed just how lovely you can be! Try a box of silk-sifted Evening in Paris powder! ~" New silk-sifted Evening in Paris face powdc FOR A MORE REFRESHING BATH Evening in Paris Eao de Cologne — A sparkling, invigorating fragrance. $1.10 Evening in Paris Bath Powder Soft, fluffy— to follow your Eau de Cologne rub. $1.10 $1.10 (^lAe^u^ ** (ya&a BOURJOIS BOURJOIS— makers of the world's finest face powders EVENING IN PARIS • SPRINGTIME IN PARIS • KARESS • FIANCEE • MANON LESCAUT • JAVA