Picture Play Magazine (Sep 1926 - Feb 1927)

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Save $40 to $50 Standard full size — late models with universal keyboard and all up-to-date improvements including back-spacer, automatic ribbon reverse, tabulator, two-color ribbon, etc. — completely rebuilt and refinished brand new. Carries regular lOyear guarantee. JP I^EE Course Touch Typewriting enables you to become ex*pert typist in short time; either for business or personal use. Complete set of illustrated lessons, from approved new system, sent FREE with typewriter. Cpfi|1 for free catalog showing typewriters illustrated *»^»«m»in fun colors. Also explains our free trial and attractive easy payment plan. Write today. INTERNATIONAL TYPEWRITER EXCHANGE 194 W. Lake St. Dept. 273 Chicago, lit. Two Dreams Come True Continued from page 31 Charlie wears himself out over his work, as I realized after only five minutes of watching him make a scene. His energy is immense. Often, when a scene really pleases him, he orders a retake, anyway — just for fun ! He never makes appointments for himself ; he knows he is far too impulsive to keep them, so he relies . on other people to do that for him. He has a Japanese valet who dresses him at the studio, and sees to things at home. But Charlie always shaves himself, cuts his own hair, and dresses himself for the street. He has a deep-rooted hatred for barber shops and never goes into one, as he declares it is a wicked waste of time ! It was a really hot day when I watched him making scenes in a lion's cage, with the assistance of the lion, a trained dog, the trainer of the lion, the man who trained the dog, his camera staff, his publicity manager, and others. Only Chaplin was in make-up ; the others sat in canvas chairs under big umbrellas, or stood behind the cameras. Inside the lion's shouting, camera cage, with trainers men grinding away and calling directions, the dog barking and the lion giving vent to healthy roars, Charlie played five or six difficult scenes, working like an express train. He rehearses quietly, speaking the words that tell the story of the scene. But once the cameras start, he hardly speaks at all ; instead he expresses through his face, his hands, his agile figure, all he has been saying before. He becomes a mass of nervous energy, like a human dynamo, and for two or three minutes he works with the force of a dozen men. Then he relaxes and, as he sits in his chair, one of his staff will say. "That was fine, Charlie — great stuff !" While another, one of his closest friends, puts in quietly, "You were working too fast, Charlie, part of the time. And )rou missed the start you wanted to give when the lion flicks his ears." "So I did !" says Charlie. "Important, too — give me a warning, next time. All right ! Let's take it again !" The Sorrows of Ricardo "Yes," said Ricardo cramp in my writing arm." So he went back to Lasky and signed a contract with Famous Players. That is when the fans first heard of Ricardo Cortez, "a second Valentino." Perhaps he was only the third, since Ramon Novarro also loomed up at that time as a candidate, no more pleased about it than Ricardo. It's a common sorrow they frequently talk about together. "A new Latin lover." That was the sort of roles they gave Cortez to play, and, as an imitation Valentino, he was cordially disliked by other actors, except his personal friends. It was also said that he was "high hat," because he was shy and seldom had much to say. All of which made him feel that the struggle was far from won; he wanted to be liked. He is not "ritzy," as the electricians and camera men at the studios will tell you. They call him "Rig." As one of them said, "I'd almost kill for that guy." That was the electrician who wanted to go to a prize fight and complained to Ricardo that he couldn't get tickets. "I'll get them for vou," said Cor Continued from page 23 I've got a tez — but there were none to be had. Ricardo went to his friend Jack Dempsey and explained the situation. "Sure," said Dempsey, "I can let you have a couple." So the electrician's big evening began when he left the studio and went home with Cortez to the Ambassador Hotel. They had dinner together and sat in a box at the fight. Ricardo's dav was made complete just by one look at the beaming face of his companion. They say about Cortez at the studios that there is a distinct difference between his manner and that of most other stars toward the workmen. Other stars make a point of "being democratic" — but there is always a barrier. With Ricardo there is none ; the workmen are his friends. He and Alma Rubens, his wife, are always finding some forlorn soul among the extras whom they try to help, never forgetting the days of their own struggles. Speaking of his wife, Ricardo was quite downcast the day I saw him. because Alma had just left for the Coast. He was sitting in a corner of a set at the Long Island studio, all alone, while near by were dozens of players making a courtroom scene in the film, "New York."