Screenland (Nov 1925–Apr 1926)

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This 1925 model double action, solid frame, swing out cylinder revolver is made of best blue steel. 32.20 or .38 cal. Special only $9.65 1925 Model new .25 cal. automatic, a regulai^beaiity. 7 shot, blue steel, a bargain for only tion guaranteed nr money refunded. Pay on delivery »lu» postage. SEND NO MONEY. Use standard ammunition. UNIVERSAL SALES CO. J59 Broadway, Dept. 50 New York, N. Y. SCREENLAND irregular of features, wholesome, and completely a man. Tallion grew confidential. "Say, what's the real story behind Julie being with us?" "What's the story behind your being with us? You were engaged for the picture, that's all. So was she." My voice must have reached Julie, who sat beside Warburton forward. Quite a long time afterwards, when I'd forgotten Tallion's curiosity altogether, she dawdled past and murmured, "Thank you, Mr. Sands." Two days later we reached our first location and commenced work. The script required a native girl, but so far inland the natives, while picturesque, were unbeautiful. Moreover they were camera-shy, as most natives are, and to have trained one would have taken too long. Julie found the solution; to make the character a halfcaste and let her take the role, the halfcaste sweetheart of Frank Tallion. But for that suggestion she might never have been in the picture at all. Despite her hopes, there would have been no part for her. Frankly I brought her along as a man adopts a wounded animal and cares for it. There is an oil the natives use to polish their skins. On white flesh it shows light brown. With grease-paint she copied that hue. I have said that she took on the color of her surroundings. Two pictures had I beheld already: Julie Kinane painted as a cantind; the truer Julie Kinane who possessed Jimmy Warburton and held him mute — for Jimmy restrained words as if he were afraid to speak and, believing himself unobserved, often stared far into night and early morning like a man tautly sustaining the burden of his conscience. Now this Julie Kinane amazed me. Catching the color of her role, imbuing it with her deeper hope, she defied the immensities of skies and jungles to render her puny as the others were. A red bandanna tied about her hair, large brass ear-rings, amulets, a brightly patterned native dress half-concealing, half-revealing her body, she threw herself into the tens and drew the whole pageant of the jungle with her. Tallion stood beside the camera that Jimmy was operating. "She's got it," he said, then, very slowly; "she's got me, too." Warburton's jaws set grimly, that was all. He continued to gaze at Julie, who looked unreal to him. She struck a barbaric note. These were days when Julie Kinane acted out her happiness and often asked me, "When we go back, do you think I'll have a chance — in New York or Hollywood, I mean?" Superb and grotesque! Hemmed by Brazilian wilderness here was this girl fighting for a chance five thousand miles away. What could I answer? Distance destroys a man's perspective. The sheer crudity of our conditions, the blaze of our backgrounds, the drab mediocrity of other players thrust her out in relief here. But New York — Hollywood? I had created her problem:, I could not solve it. Nevertheless she lived on that adventurous crest that carried us miles upstream day by day, from location to location; and the further we went from civilization the firmer her mind set upon our return. The end came suddenly, one day after Warburton had set out with the prau for Manaos. We needed supplies and possibly three weeks would elapse before Jimmy overtook us. Perhaps Tallion understood that her hope put Julie beyond him; he may have guessed how she had come to Manaos; for details were only such as she chose to give — and she gave few. We were shooting that day, and Tallion had kissed her. The merest re FRANCES MARION She is America's highest paid screen writer. She has written a majority of the biggfst pictures in film history. Her skilful continuity and advice has helped the rise of many of screendom's stars, among them Mary Pickford and Norma Talmadge. How well she knows the movie folk! There are few people in the industry who know so much about the pictures,-— who have so much to tell! She tells it in MINNIE FLYNN, the first real novel of the movies. It is a story of the rise and fall of a typical movie star. In the background are many of_ the big people of the screen — its stars, directors and backers. Being intimately of the screen, it is a story of love and lust, of the squandering of beauty and honor, in a mad struggle to reach fame and keep it. "MINNIE FLYNN is a slice of life." N. Y. Telegram-Mail. "There is no putting aside the book till it is finished." Boston Evening Transcript. "No movie-struck girl should fail . to read MINNIE FLYNN." Boston Herald. "You find yourself laughing one minute and thrilling the next." Chicago Daily News. Anyone interested in the movies must have this book. The story itself is too thrilling to miss and in addition it offers the fullness of Frances Marion's knowledge of the movie game a knowledge that could not be gained by ten ordinary lifetimes of experience. By Frances Marion 4th Edition $2.00 PnUIHII/FDirHT GOOD 61 WEST48.'STR!ST B0NI t LlVtRIGnT gQQKS newyork » T