Picture Play Magazine (Mar-Aug 1927)

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27 Got the Jinx? reers in Hollywood more than in any will learn of some outstanding examples, have progressed so far and no farther. Sylvester a spasmodic French accent. She didn't drive directors off sets, or bathe in milk. She didn't live beyond her means in Beverly Hills, and she wasn't particularly nice to the right people. If you know what I mean. That is, she wasn't nice to them if she didn't like them. One day at luncheon, she told me, her top scarlet lip in a straight little line across the words, "I guess I didn't play politics as I should have. There are many directors I don't consider geniuses, and I didn't see why I should tell them all that I did think so. There are several newspaper men and women in this town who mean nothing to me, so I didn't howl with laughter at all their warmed-over jokes. I thought I'd choose my friends for myself and themselves, and look what But I'm not being the correct hostess. Have another piece of lemon?" "Me, too," said Kathleen Key, a few days later. "I'm always saying the wrong thing to the right people. Do you suppose that's what has done the dirt to me?" But unlike Ethel, Kathleen's brutal frankness is a sort of showmanship. She bon mots and wise cracks and even insults beautifully, and they love it. So far, people will tell you, the only thing that has jinxed Kathleen is a lack of flash} opportunity. "Ben-Hur" of course did her no harm, and every 100 much temperament is thought to have given Greta Nissen a setback — oh, naughty, naughty! Photo by Hesser Sanity and straightforwardness are liabilities instead of assets to Ethel Shannon. body saw the picture, but no individual was outstanding in that epic of the screen. (Adv.) She needs a rip-roaring part in a smaller picture, preferably a character study, just as A'irginia Brown Faire needs a role like the Princess in ''The Volga Boatman" to lift her from her run of indifferent luck. A irginia is, in the opinion of many, real star material. The reason she isn't a star is just one of those things — and a lack of suitable display of her talents. "The Volga Boatman's" Princess seemed just made for Virginia, but another girl got the part. Which is fate — or maybe a little private jinx that is holding her off for something better. Love has jinxed a couple of careers and marriage a couple more. For instance. Marguerite de la Motte's. There was one time in her career when even one thought this topaz-eyed girl was going to wrap up the movie business and take it home under her arm. If you saw her in some of Douglas Fairbanks' earh pictures you know what I mean. She had mature youth and young sex appeal. She looked like a study in First Sophistication — a little girl who had just been kissed by the local John Gilbert and would like to be kissed again, please. And she photographed, as the saying goes, like nobody's business. But she fell in love and gave her work second place. Her career suffered for a while. It isn't entirely on its feet yet, but is doing nicely, thank you. Being happily married did to Mildred Davis Lloyd's career just exactly what it did to Helen Ferguson's. It placed both in sort of a happy independence that let Continued on page 100 Mae Busch's versatility put a crimp in her career, strange as that stacto^lr11" may seem.