Screenland (Dec 1927-Apr 1928)

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Solid lorn, or wateror"" I li'lSd. BLACK or BROWN, 75c at l/oul dealer's or direct postpaid. MAYBELLINE CO.. CHICAGO Johnson's fury at his carelessness. A search party was immediately organized, for not only were rhinos reported to be in the vicinity, but leopards and other ferocious wild beasts. If Mrs. Johnson had been hurt or unable to defend herself her fate would have been appalling. Being treed by wild beasts was not an uncommon experience to Osa, but the guide said there were no trees in the few miles of desert trail on which he lost her. To every one's intense relief she was discovered, through Johnson's glasses, sitting alone on the ground about a mile away and even while Johnson was looking through the glasses, she rose and slowly started toward him. She later explained to them that the mule shied at a snake and she fell olf evidently striking her head on a stone. Some of their most dangerous and dramatic encounters, however, were with the elephants. These huge beasts go by no rule of attack or retreat. It is impossible to anticipate their movements as it is with the other game and once their fury is aroused it is awe-inspiring, indeed. Often through the dusk they could hear the huge beasts, tons of peril, the Johnsons call them, thumping about as they pass on to the lake, where they splash about in the stillness of a quiet African evening. In Simba, which means Lion in Africa, Johnson succeeded in recording for the first time in the history of animal photog' raphy, the most remarkable pictures of lions and a lion war against a tribe of natives in Tanganyika, ever filmed. So great is the strength of the lion that with one swipe of his powerful paw. he broke the neck of one of the oxen belonging to the king of a Lumbwa tribe. War is declared on Simba by the natives and right in the thick of the fight are the Johnsons recording with cameras for the first time pictures of lio'ns as they have never been filmed before. A thrilling day with its precious reward of the prized lion shots deserved a fitting celebration, so the Johnsons had apple pie for dinner, far, far away from their own native shores where a world waited patiently for a picture that took four years to film. Yet who can measure the heart throbs and the anxiety they lived through when every minute seemed like a year and where danger lurks at every turn. Thrills indeed. Ask Martin and Osa Johnson. There's More to a Picture Continued fro??? page 21 ear. We see the child's little feet firmly planted in a furrow. This dissolves into a large pair of shoes. These wear out before our eyes and are replaced with a new pair of real boy's shoes. And again these dissolve into the feet of a man standing on a carpet. And in the next shot we see the child grown and the girl-mother a greyhaired woman. So easily we pass over the intervening years, and yet how well we know their wear and tear! How the struggle strikes home to anyone who has confronted the problem of keeping a family in shoes — the shine gone, the shape gone, the hole, the patch, the gape! Perhaps the critics never wrestled with such problems, or else it was so long ago they have forgotten them. But picture people are mostly young and ardent, with the struggle not so far behind them (if at all) and in such homely ways they express their humanity. It strikes the audience right enough, but the critic hardly notices it. He is looking to see how the star 'acts.' It is not his fault. He simply doesn't know the very basis of movies and movie production — the basis of youth, rough, gay, exquisite, tender, conquering, stupid, youth. And to give a little of this atmosphere, and seeing we were speaking of shoes, we will begin with Gareth Hughes, who a few weeks since arrived on the set without any pedal garments at all. Not that he was broke to that extent, but a rival company, hoping to prevent his finishing a certain picture on time, had kidnapped him, locked him up far outside the city, and taken his shoes. However, Mr. Hughes had 'borrowed' a farmer's car, and arrived not too late. 'O, shucks, movie stuff,' you will say. But ask Gary Cooper where he spent the last week before Paramount signed him up on a five year contract. Ask him how many people tried to lure him into strange speakeasies, how many shyster agents had marvelous offers which his own agent could not possibly equal, and which could only be revealed in the strictest seclusion. That's pictures — raw, rough, young — but an art nevertheless. And in my opinion an art which will soon outdistance its elder sisters. For its possibilities are almost infinite, and it is bound by none of the elder dogmas. Take the matter of interior decoration. ■C[Vera Veronina the Paramount housewife and coo\ie designer.