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Harry Carey has a great weakness for white, and has never been known to own a car of any other hue.
Behind the Windshield
Individuality above all things, is Hollywood's eternal cry, and from Colleen Moore's bright-green, little toy roadster to Pat O'Malley's old 1912 Packard, the cars of the players are different from others.
By Helen Ogden
HOLLYWOOD is a city of individuality and expresses this flair for being different in its homes, its loves, its neckties — even in its automobiles ! Motor cars have, in general, become so conventionalized that they would seem to offer little opportunity for the individualist. But if the stars in the film capital were to hold a private automobile show, I doubt there would be more than two or three stock models in the entire display !
The one and only Boulevard is noted for its gleaming, costly motors that glide by so silently. Dashing in among these is a long, low-slung roadster of pure white. You can see it for blocks away, it's so striking. This is Harry Carey's car, and if ever a man was known by his xar, it is Harry. You can tell at a moment's glance whether he's buying shoes, candy, or perfumes to-day simply by noting where the white car is parked.
Carey claims he has no particular excuse or reason for this taste for white other than the mere fact that "it's different." Those among his friends suggest that there may be some sentiment on his part for this color due to the fact that favorite white.
Perhaps so. A tenacious sentiment, in truth, for no matter what the make or what the original color, year after year he has each successive car repainted in white.
With a fleet of the fastest foreign and American cars in his garage, and known as one of the fastest directors in the business, it comes as a distinct surprise to know that
one of his ponies was
Jimmy Cruze won't permit his own or studio chauffeurs to drive him at a speed of more than seventeen miles an hour. It seems he has made this an inviolable rule, and time and again he has discharged chauffeurs who press the gas pedal too hard.
If it's a wheezing, asthmatic old car, moaning for a new coat of paint, that coughs its way toward you, you can wager your luckiest coin piece that it's Pat O'Malley and his 1912 Packard. Xo one else in his family will deign to ride with him, and although his wife may sweep around in grand style in a trim, ultramodern limousine driven by a liveried chauffeur. Pat unconcernedly chugs about, happy and utterly contented, in his old car.
Residents of Hollywood have become quite used to the sight of the impeccably groomed Adolphe Menjou dashing about in a Ford coupe. Two or three expensive cars stand idle in his -garage during the day simply because Adolphe prefers to go to and from the studio in his little lizzie. He says that it is easy to dodge around in traffic with it, and that while it stands under the gum-dripping pepper trees he never worries whether
its paint is being ruined or whether people are crumpling his fenders or not. It is said that only very recently he has abandoned the rattling coupe in favcr of a chauffeur-driven car.
William Russell maintains the same attitude. At night, for carrying himself
This is the little toy that Colleen Moore picked up in London — it just fits her, doesn't it?