Screenland (May–Oct 1927)

SCREENLAND We train you quickly at home to make money in Photography. No previous experience necessary. Spare time or full time. New easy plan. Nothing else like it. This is your opportunity. Your rapid progress assured. Easy to Get Started THIS is the picture age. Never before has therebeen such a demand for pictures, and this demand is increasing every day. Magazines, newspapers, manufacturers, real estate dealers, and nearly every line of business are today using photographs in larger quantities than ever before. If you want to make money, you owe it to yourself to cash in on this demand. Portrait photographers also make more money than ever before. Commercial Photography is also a big field. It is easy to get started. Not only do we give you the training you need to quickly become a Photographic Expert, but also show you how to make your photographic training pay you handsome returns. You can be making money on the side in a few weeks while securing your training. Many are doing it. C. M. Cole writes that he bought his home from earnings made before he was half way through. J. Canaris writes he made ?300.00 before he finished. Everything is as easy as A.B.C. No artistic ability required. Let us send you full details and our new interesting book, "Opportunities in Modern Photography." It contains real money-making suggestions and information. Delays pay no dividends. Mail coupon now. American School of Photography J60I S.Michigan Ave., Dept. 1 3 1 5 Chicago Send For This FREE Book! American School of Photo»r3ohy 3601 S. Michigan Ave, Dept. 1315 Chicago, Illinois Yes, send me "Opportunities in Modern Photography." and full details. I am under no obligation. Name Address City State (\ Gilbert Roland and 1<[orma Talmadge enact the beautiful tragedy of Camille's love. % REAL By Carolyn Darling I™ ha: IKE all great actresses Norma Talmadge has added "The Lady of the Camellias" j to her list of roles. Strangely enough of all the actresses who have ever played this part. Miss Talmadge is probably the only one who almost exactly fits the description of the real Marie Duplessis, whom Dumas called Marguerite Gautier. According to Jules Janin, the celebrated critic of the Journal des Debats, "Her face was of an oval shape, rather pale, her eyes almost black and her lips scarlet. Her manner was dignified, yet gracious, and there was a charm about her like an indescribable perfume." What romance and tragedy her name evokes! Few realize that this frail heroine, whose mysterious charm captured the imagination of all Paris, actually lived and suffered and that her name was Alphonsine Plessis, and that she was known in Paris as Marie Duplessis. She was born in 1824 and died on the 3rd of January, 1847 — just 23 years of age. Dumas knew Marie Duplessis and was so interested in her unusual qualities, in the sad, sweet dignity of her personality, that upon hearing of her death, he went to St. Germain and wrote his novel in less than three weeks — on the back of envelopes, on any scraps of paper that he could find, so vividly had the story of this young French girl's life captured his imagination. She lived around 1830, in a house in Paris near the Madeleine, a house which still stands with the little god of Love over the garden gate. "She was either a duchess or a courtesan," that was a man's description of her when he first saw her. "I remember meeting her for the first time," Jules Janin wrote, "in an abominable green room of a theatre on the Boulevards of Paris. Everyone was there, from a working man to a gentleman. The general conversation was about everything, from dramatic art to fried potatoes, but when this young woman appeared it seemed as if she illumined us all with a glance of her lovely eyes. She walked on the muddy floor as if she was traversing the Boulevards on a rainy day. She raised her dress intuitively in order not to touch the dried up mud, without thinking of showing us — for what would have been the good of it? — a neatly shod foot and a well-rounded leg covered by a silk stocking. She entered the room and went, with head erect, through the astonished crowd. "Lizst, the great composer, and myself were very much surprised when she came and sat down familiarly at our table, for neither he nor I had ever spoken to her. She immediately addressed the great artist, and informed that she had once heard him play, and that he had set her dreaming With the marvelous instinct which was peculiar to him, he tried to discover who this woman could be who was so familiar and so dignified, spoke to him first, and who, after the first words had been exchanged, treated him with a certain hauteur, as if he had been presented to her at a levee in London, or at a party given by the Duchess of Sutherland. "Meanwhile, the three solemn knocks of the prompter resounded through the theatre, and the critics left the room as well as the crowd of spectators. The unknown lady alone remained with us; she drew near the fire and shivering, placed her feet near the small log, so that we could observe with the greatest ease, from the embroidered (Continued on page 102)