Screenland (May-Oct 1928)

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She has a good, hearty hand-shake. If she likes you, fine. If she doesn't, you know it; and the only thing for you to do is to crawl out of the presence on hands and knees'. She could have stayed out in Hollywood. But all her offers emphasised her dancing. That's why she turned them down. "I don't want to be thought of as only a dancer," she says. "I want to act! This English picture will be synchronised. I will have a chance to sing and act — and to dance, too. So it answers all my needs and I am very happy about it." I'm glad all the girls are so happy, aren't you? Gilda's last picture was The Devil Dancer, and you know she made a long tour of the country in personal appearances. Yes, little Marianna Michalska who was born on a little farm in Poland, who came to this country and grew up in the middle west, who sang and hoofed in cafes and night-clubs and finally graduated to the Follies and the films — has come a long, long way. Now she is Gilda Gray, the Golden Girl. And I won't be surprised to hear that she has made that roast beef of old England sit up and beg. Jack Pickford, who in spite of his real ability and shiny black hair has never seemed to be able to live down the title of 'Mary's brother,' came to town to try out for a leading part in a new stage play. He also said he was going to keep an eye open for a screen story which would be suitable for him and sister Mary to do together— a dream the two have long had. Jack is the apple of Mary Fairbanks' eye, you know, the adored 'kid brother.' As soon as his plane landed in the east — oh, yes, Jack would travel by air express; he's a most modern and cosmopolitan young man — he rushed to a telephone to call up Marilyn Miller. These two were wed in 1922 and divorced last year. "We're not thinking of marrying again," said Jack. "We're just good friends." So that's that. Fay Wray is the heroine of The "Wedding March. It was made a long time ago but it is a von Stroheim picture so' of course it hasn't been released yet. Fay got impatient and decided to .stage another little wedding march, this time on her own. That is, with the assistance of John Monk Saunders, brilliant young author of Wings and Legion of the Condemned. He and Fay met while he was supervising and she was heroine-ing in The Legion. All the time that Gary Cooper was making love to Fay before the cameras, she was thinking of the young man outside the camera lines talking to the director — and watching her. The real love .story of that picture was the Saunders-Wray romance. They were engaged seven months, vigorously denying it all the time — that's the way they do these things in Hollywood. They weren't going to be married for a long time — oh, no. And then Fay was called east to do exteriors on The First Kiss in Maryland. And John had to go to Washington to consult with aviation experts on Dirigible, his new story. And so — one lovely summer's day in Maryland, on the shore of Chesapeake Bay, Fay Wray became Mrs. John Monk Saunders. It wasn't a wedding a la Hollywood. In fact, no one would ever have suspected that the quiet, shy. pretty little bride was a famous movie star; or the correct, good-looking groom a successful screen writer; or the best man the latest sensation in movie lovers, Gary Cooper. Fay's mother was present, and the scene was the shady lawn of an old estate. Movies seemed far away. The bride would permit no photographs to be taken of the ceremony, though afterwards she was prevailed upon to pose for the camera-men. As soon as The First Kiss location scenes were finished the Saunderses went to Washington: and then came to New York, where they honeymooned in a great big suite at the Hotel Plasa, overlooking Central Park. And I want to tell you that Fay and her nice new husband are the kind of people you would like to know. Fay is little and slim and very graceful, with a soft, low, sweet voice. Her adoring husband — you .should see the way he looks at her even when there is company present — is handsome enough to be a movie actor; but as a rapidly rising young author he makes a bigger salary than most leading men and he doesn't have to make lotfe to anybody but his own wife. I asked him how he liked watching Fay's love scenes with Gary. He laughed. "That's just acting," said Fay for him. "Gary and I are like brother and sister: he and John are great friends. Motion picture love-making doesn't mean much." Except to the audience, Fay! She is to be the star of Dirigible, Saunders' latest story. He hopes she will always play in his stories. . He'll do his best to make his heroines the dearest, sweetest girls in the world so that Fay will be cast to play them! Fay reminds me of Lillian Gish except that she has more U'm-m-m in her make-up, if you know what I mean. She has pretty, soft, wavybrown hair, which isn't bobbed. Another movie actress might have succumbed to the temptation of having it 'touched up a bit." Not Fay. Big melting gray-blue eyes; beautiful white skin with no make-up — absolutely none. You think at first she is a clinging-vine girl, and then she'll deliver herself of some independent or humorous opinion and you change your mind. You'd like Fay and John. George Fitsmaurice is the Beau Brummel of movie directors. I don't know any other 'big' director who can boast of a nickname. To almost everybody Fit?maurice is 'Fits.' You can't imagine anyone calling D. W. 'Griff' or hailing Cecil deMille as 'Cecie' — but you can imagine calling the dapper, immaculate, charming Frenchman by his charming nickname. He can be dignified enough on the set, but it's a debonair dignity. He looks more like a man about town — one of those elegant individuals that the Sunday supplements love to call 'well-known club-man.* He has savoir {aire and all those things. Also he is the nicest of all the directors I know. No wonder he makes beautiful pictures. He loves beauty. He studied art in Paris before breaking into pictures as a writer. He is frank to admit he likes to direct beautiful women — certainly he can direct them sympathetically. He brought out hidden fires in Billie Dove's talents in The Love Mart. He made Mary Astor snap right up in Rose of the Golden West. And now I hear he has directed Dorothy Mackaill and Betty Compson to give the best performances of their careers in The Bar\er. He has a little accent and a little moustache and I never miss going over to