Picture Play Magazine (Mar-Jul 1929)

Contents — Continued 1111 11111 Love Makes the Man ..... The change that has come over Richard Arlen. Hollywood High Lights . News and gossip of the studios. On to Romany! Photographs of stars ready for the gypsy trail. The Vainest Dog in the Movies . He had his face lifted! The Third Lois Miss Wilson comes into her own at last. A Confidential Guide to Current Releases Brief tips on pictures now showing. The Screen in Review Our critic reports on the new films. Are Stars Noisy Neighbors? Some are and some aren't. A Girl Who Had No Childhood Mary Nolan's triumph over tremendous odds. Water-front Stuff Alma Talley . . .56 Edwin & Elza Schallert 58 62 Myrtle Gebhart Norbert Lusk Mignon Rittenhouse Margaret Reid H. A. Woodmansee An amusing description of the scene of many a marine movie. When the Stars Dance They first learn how at schools which flourish in Hollywood. The Juvenile Elite ...... A peep at some of the youthful aristocrats of the movies. Information, Please ...... Answers to readers' questions. A. L. Wooldridge . Margaret Reid The Oracle THEIR CHAPLIN COMPLEX IT sounds formidable. It is. Because, instead of bringing success to the victims of it, the Chaplin complex has proved and is proving their undoing. Every one knows that Charlie Chaplin is his own director; that every Chaplin comedy bears the stamp of his individual touch, because he alone is responsible for his pictures from their first moment of inception to their last, finishing touch. This is all right for Chaplin; he can get away with this one-man job. But did you ever think how many have attempted to compete with him — how many comedians have become inoculated with the desire to be the whole show— and the disaster that has overtaken them? In PICTURE PLAY for June you will find an answer to this query, analyzing the complex from its sprouting germ to its deeply rooted existence, and tracing the decline of many a star because of it. This is a most informative article and a convincing argument against excessive ego. How to Break Into trie Talkies NO, this isn't an invitation to go to Hollywood in the hope of working in an all-dialogue film. PICTURE PLAY would never advise any of its readers to do that. But Inez Sebastian, whose knowledge of the talking-picture situation is founded on a painstaking investigation of their method of production, gives some encouraging advice in the next number — advice which will answer many questions the fans have asked. In addition to this striking feature, Margaret Reid's analysis of Jack Mulhall will appear, together with Madeline Glass' interview with Don Alvarado who, by the way, is thinking of changing his name because he resents its Spanish implication. Myrtle Gebhart contributes a characteristic story describing those moments, great or small, which have most influenced the careers of various stars, and, in fact, all the regular upholders of PICTURE PLAY'S standard will do more than ever next month to make it the best magazine on the screen.