Picture-Play Magazine (Mar-Aug 1925)

116 Advertising Section That Glint In My Hair By Edna Wallace Hopper Countless women ask me how I obtain that wonderful glint in my hair. This is the story of it. I have been famous as a stage beauty for some 40 years. I have written millions of words about youth and beauty. I have searched the world for the best it had to offer. Now I am offering other women — everywhere — t he best helps I have found. All toilet counters supply them. And a vast army of girls. and women now employ what I use. As a result experts who discover something new send me their productions. If I adopt them and advise them, a world of women will employ them. So I think I get the best new helps created. Last year some famous experts submitted to me a new type of shampoo. They had studied shampoos for 50 years or over. They had made about 250 kinds of shampoo, perfecting it step by step. They called this their final creation. They said it embodied 20 ingredients, all designed to help the hair. And two of them gave a glint to the hair. I tried the shampoo, and the glistening hair I show to-day is one of the results. I asked other women to try it — hundreds of them. And there came to me an overwhelming demand for more. It is, beyond doubt, the greatest shampoo in existence. Now I have employed the creators to make it for you. It is called Edna Wallace Hopper's Fruity Shampoo. All druggists and toilet counters supply it. And I hope it is going to bring to millions the lustrous hair I show. I send a samp1*? to anyone who asks — enough for one shampoo. It will amaze and delight you, as it did me. You have never dreamed that anything could do what my Fruity Shampoo does for hair. Try it for your own sake. Cut out this coupon now. My Beauty Book will come with the sample. Trial Bottle Free Edna Wallace Hopper, 536 Lake Shore Drive, Chicago. I want to try Fruity Shampoo. 923P.P HAVE YOU EVER READ Sea Stories Magazine? GOOD AND EXCITING SAVE YOUR HAIR This New Way Guarantees It J7ALLING hair stopped. Dandruff de* stroyed. Dry, brittle hair. Dull, lifeless, uninteresting hair. All can now be corrected. New hair can be grown. A wonderful new treatment guarantees it. Money back if it fails. NT EVER before have you seen such a treatment. It is not a mere "tonic" — not a shampoo. The principle is new. Scientifically correct. Leading dermatologists are now advocating this theory. IT stops falling hair as if by magic. 1 Destroys dandruff with an application or two. Brings out the lustre and beauty of the hair in a way that is almost unbelievable. Stimulates it to thicker and heavier growth. A ND the ease of this treatment will n simply astonish you. A few moments once every week or two is all the time needed. No nasty odor, no greasy mess. Everything is just delightful. VY/E urge you to test this new treat vv ment. Do so at our risk. If it fails it costs you nothing. A written guarantee in every package protects you fully. Ask for STIM SCALP TREATMENT at your dealers or write us direct. FREE BOOKLET Write us for free booklet on Hair and Scalp S ANITAS CO. 607 Sanitas Bldg. 33 Keap Street, Brooklyn. N. Y. Ricardo Cortez. Of recent productions, I cast my vote for "Forbidden Paradise," a picture, to me at least, without a flaw. Its cryptic nuances were fascinating. I also keenly enjoyed "He Who Gets Slapped." Considering the motion picture in its entire history, I have always maintained, and see now no reason to change my attitude, that "The Whispering Chorus" is the screen's greatest classic. John Gilbert. I thoroughly enjoyed "The Enchanted Cottage" and "Romola." The latter transported me back to fifteenth century Florence, and pulled away a curtain of five hundred years to let me in on the tangled lives of Romola, the fanatic Savonarola, Tito, and Tessa. The beauty of its background has never been equaled on the screen, each scene revealing what seemed to be a placid study by an old master, and the performances were so delicately and poignantly etched. Eleanor Boardman. I liked "The Thief of Bagdad," "The Iron Horse," and "Wild Oranges" the best of last year's pictures. Of these, I remember "Wild Oranges" most vividly. King Vidor caught the spirit of the Hergesheimer novel, the psychology of fear, and the whole film was permeated with an indefinable terror, not the cheap thrill that is found in a mystery melodrama, but an eerie quality that is unforgetable. Buster Keaton. From the standpoint of production, I thought "He Who Gets Slapped" the highwater mark of the year. Its every mood was so consistently depicted. I'm inclined, though, to look for individual performances that stand out above the technique of a film's production, and on that basis I would select Lew Cody in "Three Women" as having given the finest portrayal of the year. The best comedy, to my way of thinking, was Harold Lloyd's "Grandma's Boy." Lloyd never misses fire — he's always dependable. Beverly Bayne. I followed "The White Sister" all over the country before I got to see it. Finally catching it on its second run in Los Angeles. I saw it twice to make up for lost time. It was wonderful and I adored Lillian Gish. I loved its quietness — as soothing as an April twilight — plastic, the essence of beauty. I wish we had more like it. I had read Edna Ferber's novel, "So Big," and I liked it, but even so I was not prepared for Colleen Moore's superb delineation. And I admired Charles Brabin's handling of the story immensely. No matter whether the role be my conception of what she should do or not, I always see Mary Pickford, who has long been my favorite star. "Abraham Lincoln" impressed me deeply. Norma Shearer. "The Thief of Bagdad" and "The White Sister" are, to my mind, examples of the finest in screen art. But the picture that will always remain my favorite — unless I exercise my feminine prerogative of changing my mind ! — is "The Enchanted Cottage." It is such a charming fantasy, with a most appealing story, and told in a sensitive key that goes right to my heart. Ruth Clifford. Too much cannot be said in favor of "The Phantom of the Opera." It is one of the best pictures I have ever seen. Once I saw a Monoyama screen of gilded goffrage over leaves of blue — a thing of startling, almost unbelievable beauty and clarity of coloring, and yet undertoned with something mysterious and sinister in its deeper shadows. Each segment seemed done in miniature rathert than too broadly splashed on. Perhaps the comparison seems odd, but certain scenes in "The Phantom" had that same concentrated beauty, particularly the color sequences of the opera. And the direction of this spectacle was masterful, the photography, settings, and performances synchronized expertly. I could rave for hours about it. "So Big" represented a triumph for Colleen Moore. Despite the fact that "Romola" was not generally received with great enthusiasm, I dust off nvy most choice adjectives of praise for it. "Peter Pan" marked a departure from the usual run of pictures, and presented fantasy at its best. Lew Cody. In my estimation the finest attainments of the screen in the past few months were "Forbidden Paradise," "Romola," and "The Great Divide," the last named being my favorite of the three. Monte Blue. The difference of opinion keeps the motion-picture producers in business. What one man likes another will condemn. Personally, give me the wild and woolly, blood-and-thunder stuff. Why, I don't know, except that before I ever had any idea of becoming an actor it was what hit me the hardest. Not that I don't appreciate finesse and quality in an indoor play ; it is just that my spine can curve and my body grow cold with the villain stealing the mortgage and the girl, and I feel like yelling when the hero rescues them both. Willard Louis. I always look for the comedian or the comedy relief, and there is one, Wallace Beery, who can play a heavy villain and still get many a laugh. His performance in "The Sea Hawk" bears me out in this. That was a great drama, nicely directed and with smoothness of action, and marvelous pantomime by Beery. Perhaps I shouldn't pick a film in which I appeared myself, but I can't help saying I thought "Beau Brummel" the second best picture of the year, owing to the artistry of John Barrymore. John Roche. "The White Sister" gave me the greatest thrill of any photoplay I have ever seen. To describe such a picture is almost impossible — as impossible as to describe Caruso's voice. It is beyond mere words. Too, I think Lillian Gish the greatest tragedienne on the screen. I saw "The White Sister" many times, and even now, when I see it programed at a small suburban theater, I make it a point to devote that evening to seeing it again. "The Marriage Circle" was one of my favorite three because it showed the touch of a master human hand. "Beau Brummel," with John Barrymore, is the third picture I would choose. Mary Alden. It has been said of motion-picture people that they seldom enjoy pictures because their familiarity with the camera makes them too technically critical. This may be true of some, but I know many who are ardent movie fans. And I am one of them. I consider first entertainment value from