Picture Play Magazine (Mar-Jul 1929)

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For the enclosed toe (coin or stamps) send me a trial size bottle of NONSPI Develop Your Bust! Our scientific method highly recommended for quick easy development LA BE A UTE CREME lor improvement of bust, neck, face* arms and legs lined with grreat success by thousands. Inexpensive, harmless, pleasant. Successful results or money refunded. Full particulars and proof (sealed) free. Write for special oUTer TODAY. LA BEAUTE STUDIOS 857-PM Hamilton Terr., Baltimore, Md. The JuVenile Elite Continued from page 90 BLONDES — here's good news.' YOU can keep your hair light, bright and lovely. You can bring back its gleaming golden beauty if it has become dull and dark. Simply use Blondex, the special shampoo for blondes only. Prevents darkening— gives new life and lustre to dull, faded hair. Safe — no dyes or harsh chemicals. Used by a million blondes. At all leading drug and department stores. generally grimy, her face streaked, and her hair tangled. Her dress seems to get torn and her knees scratched oftener than any one else's. When she has eaten an orange, the evidence is visible all over her face, hands, and dress. With strangers she is friendly, but silent. She likes to sit on their knees, examine their pocketbooks and play with their jewelry. Her ingratiating grin is ever present, and if she is asked a question it spreads even broader, and she wriggles and squirms in embarrassment. It is only after long, preliminary contortions that she will reply that she likes "Our Gang" better than Sennett's. Mary Ann's personality is as definite as Chaplin's, and she is as distinctive among children as Chaplin is among adults. Supremely unconscious that she possesses it, Mary Ann has an instinct for comedy, with methods of projecting it that would be called subtle were she aware of them. Robert McGowan, the director of "Our Gang," says that Mary Ann scarcely needs be told what to do. She does things her own way, and her spontaneity never misses any point the director wishes to make. Already Mary Ann has bought a ten-thousand-dollar house, and has a bank account that will assure her of comfort when she reaches an age where a dollar bill is more interesting than a shiny, new nickel. The dauphin of juvenile filmdom is Philippe De Lacy. His history is too widely known to repeat more than briefly. A Belgian by birth, discovered by Edith De Lacy, Red Cross nurse, in the cellar of a house which had been demolished by the Germans. Then a baby of a few weeks, he was adopted by Miss De Lacy and brought to Hollywood. He is a veteran of pictures, and his name in the cast gives a picture prestige. His talent lies particularly in the dramatic field, but his emotional scenes are never maudlin. His work has dignity and poise, and he is so ravishingly beautiful that hard-boiled cutters quail at deleting one of his close-ups. Within the last year he has shot up into the beginnings of coltish young boyhood. There are several large teeth filling the vacant spaces of a few months back. He is a baby no longer, but so far his beauty has not been marred by the approach of adolescence. He is in as great demand as ever, and has bought the elaborate hillside home of the late Barbara La Marr. He is a charming youngster of princely bearing and graceful man ners. He looks like an illustration out of Hans Christian Andersen, even when he is battered from the scraps he gets into, or grimy from baseball. A newcomer to the ranks of the juvenile elite is Jane La Verne, who achieved meteoric success in her first picture. Reginald Denny had had in mind the story of "That's My Daddy." One day, on the set, he noticed the wife and daughter of one of the electricians looking on. Attracted by the child, he talked to her and was convinced that she would fit the role of Pudge. Her parents agreed to her working, and the picture was begun. Then Denny found in Jane possibilities far surpassing what he had expected. Generously he added to her role and gave her abundant footage, with the result that she stole the picture and caused seasoned critics to break out in superlatives. Since then she has worked at other studios, but returned to Universal for "Show Boat." Jane doesn't quite know what has happened to her. She only knows that a studio is an exciting place, and the people are so nice. She doesn't know that she has a flair for drama. Her full name is Mary Jane, and she is a small beauty, with liquid, brown eyes and silky, yellow hair. She is quiet, gentle, and well behaved. Although shy, she makes polite conversation in a soft, little voice. Her mother is inclined to dress her in frills and furbelows, but Jane herself is a delightful, natural child. There are nuances in her delicate personality that indicate the material for a splendid person. Her mother lays stress on the necessity of "training" — and by Jane's apprehensive expression I gathered she meant whipping — but even despite this, at least some portion of Jane's possibilities may be developed. On the set she sits quietly, being careful to keep her dress clean. She prefers ladylike card games and picture puzzles. She adores Reginald Denny, and it is possible that they may do another picture together. These particular children, although among the most celebrated, form only a small part of the cinema kindergarten. It is a class from which directors may draw the finest of spontaneous talent, the richest fund of unadulterated sincerity of expression. And the exponents, except for the irksome hours of school behind the scenes, have such royal fun as was confined, heretofore, to the children in unbelievable storybooks.