Screenland (May–Oct 1927)

SGREENLA N D 97 Just a little mite, Cleopatra; but oh, what big eyes she had, and what big ideas! She also had twins, but whose business is that? What I'm driving at is that styles in sirens haven't changed much. It's still the split' pint soubrette that knocks 'em cold. There are exceptions to every rule — Greta Garbo. But look at Janet Gaynor and Louise Brooks and Clara Bow and Lya de Putti and Marie Prevost and Sally O'Neil and Alberta Vaughn and Lois Moran — all little, but oh my. A little vamp is a dangerous thing. Professor Twitch, in his famous tome, "Why We Behave Like Boobs", has brought to light some other fascinating points. If we would only take a tip from the Eocan' thropus, he says, we would learn something. Maybe so; but I'm not taking any chances. I prefer to take my tips from the Homo Hollywoodis. He still observes the good old customs. He woos his fair lady by deeds, not dose. He's the quarterback on the football team who makes the touchdown that saved the day for dear old Hale. Or he's the stroke-oar on the crew; or he wins the hundred-yard-dash on the dot. He does something. He shows her. He's a caveman in modern dress, and he always gets his girl. His clubs may be night-clubs but he uses the same technique. She gets her man, does the cave-girl in modern undress, with the same simplicity that Mama Magnon used. Screen stars just have to exhibit primitive emotions to make good. Our friend, the Professor, calls upon physiology craniology, psychology, archaeology, sociology, demology. ethnology, morphology, embryology, ecology, anthropology, and somatology to prove his points; and if you want to, you can listen to him while he explains it all. But I know better. I know he is only Lon Chaney trying out a new set of whiskers. Besides, I have a date to go to the movies to' learn all about primitive emotions from them. What's Doing in Times Square (Continued from page 8) A close-up of the scene had been shot once but neither Miss Mason nor her director were satisfied with it. They talked it over again and then Shirley walked slowly to the set and stumbled to her knees before the chair over which the scarf was hung. No one seemed to be paying the slightest attention to her. The director glanced over the script, the cameraman adjusted his camera at a different angle and the electricians examined their lights. Shirley sat quietly for a few minutes, her face half buried in the scarf, the finger of one hand tracing an aimless pattern on the arm of the chair. Tears glistened in her eyes. For a minute she was perfectly still, then the hand that had been tracing the pattern made a slight gesture. Instantly the director said quietly, so as not to disturb the tempo of the scene, "All ready boys. Lights. Camera. All right Shirley." 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