Screenland (May-Oct 1929)

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A dele Millar 527 W. 7th St. Dept. 36 Los Angeles, Calif. 'Firing the Star, f — Continued from page 45 BOW LEGS AND KNOCK-KNEES Improved by use of the Morris Invisible Limb Straightener for Men, Women and Children— Worn with Comfort, either day or night or both and is entirely invisible. Send 10 cents coin or stamps for Actual Photographs, sent in plain wrapper. ORTHOPEDIC INSTITUTE Sec. 5 1032 Loew's State Bldg. Los Angeles, Calif. Stop Using A Truss STUART'S ADHESIF PLAPAO-PADS are entirely different — being mechanico-chemico applicators — made self-adhesive purposely to keep the herbal muscle-tonic called "Plapao" continuously applied to the affected parts, and to minimize danger of slipping and painful friction. The adhesive fabric is soft as velvet and clings to the body without straps, buckles or springs. For almost a quarter century stacks of sworn testimonials from many different countries report success — without delay from work. The epidermatic absorption of Plapao and the utilization of "plaster therapy" tend toward a natural process of recovery, after which no further use for a truss. Test of factor "PLAPAO" sent you CDCC Mail Coupon below TODAY. lllLbi Plapao Laboratories, Inc. 1566 Stuart Bldg., St. Louis, Mo. Gentlemen: Send me a Free Trial Plapaoand 48-page book on Rupture. No charge for this now or later. Name.. Address . CORRECT your NOSE Improve your appearance with Anita Nose Adjuster. Shapes flesh and cartilage — safely and painlessly, while you sleep. Results are lasting. Write for FREE BOOKLET. ANITA INSTITUTE. H69 Anita Bldg.. Newark. N. J. Being released from a contract after just one picture is very, very bad for one's prestige. Charlie couldn't find a tiling to do for many a day. Then -at last Mack Sennett put him in a picture. The first day's 'rushes' were shown and then and there the famous comedy producer went 'way up in the air: "He's terrible — awful!" he shouted. "Somebody fire him!" And somebody did. Then somebody — yes, another somebody on the Fox lot took pity on him. They thought he might be valuable some day and so he was invited to sign a contract at a small salary, about one hundred dollars a week. Then came James Cruze's big picture "Old Ironsides." Since then, Charlie has risen to the very top of the ladder. Don Alvarado has fared pretty well, also. Out on the Universal lot one day. Tod Browning, directing various pictures, received a call from one of the head executives. "You're using one man in your tough mob scenes so much that he's getting to be a regular trademark of your pictures, and of Universal as well. Cut it out," came the order. The 'trademark' was none other than Lon Chaney, then playing small bits and whose make-up was so good that Browning used him in practically all of his tough mob scenes. So Chaney left the Universl studio and when he next returned it was to star in "The Hunchback of Notre Dame." "You're not worth a cent more than you're getting and never will be," Harry Carey was told when he asked for a raise to seventy-five dollars a week in the old D. W. Griffith days. "You're — " stuttered the 'big boss.' "Oh. no, I'm not fired." shouted Harry. "I quit!" And quit he did. And soon he was starring in Westerns and getting several times more than the raise he asked for. A somewhat different experience was that of John Gilbert, at the time playing a bit for William S. Hart. Hart was so disgusted with one scene that he lost his temper and told Gilbert: "You'll never make an actor. You're through right now. Go get your check!" But Gilbert kept right on talking and talked so fast and fluently that Hart was persuaded at last to retake the bad scene and also to keep young Gilbert on his payroll. William Wellman, director of that epic, "Wings"; Joseph Von Sternberg, responsible for "Underworld" and "The Last Command": the late Mauritz Stiller, who directed "The Way of All Flesh" — all successful at Paramount, failed entirely to click at Mctro-Goldwyn-Maycr and were consequently 'fired.' \Vhcn Von Sternberg had his contract renewed by Paramount last year, it was for the very first time anywhere in his picture career, he admitted. Richard Dix was another who failed to make the grade on the old Goldwyn lot and so 'got through,' and now he is one of the biggest stars and box-office attractions of the Paramount organization. And so it goes. You see, it's all in the game. Stars can be fired — and are fired — just as easily as anyone else. But in some cases, certain producers would give a lot if they hadn't fired certain players just when they did. The Dancing Doll— Continued from page 56 "The kid's good," Bessie told the director after watching Joyce's nimble grace. "WV11 let her do some bits," agreed the director, and Joyce made her film debut. "When "Broadway Melody" was being shot, Bessie again saw Joyce among the dancing girls. "The kid's good." she whispered to Harry Beaumont. "Catch that tap toedance routine!" Beaumont did. Executives were called in to look it over. The result was a long sound scene written into the story just for Joyce. A longterm contract followed. Gus Edwards also lent a helping hand to the diminutive Cinderella and gave her specialty numbers in his talkie revues. Then the big new M-G-M revue came along and Joyce landed out front in full glory of a featured artist in the huge all-headliner cast. Joyce was born in a little mining camp, Coeur D'Alene, Idaho. Perhaps dancing was born in her. For her mother had been a partner in a sister song-and-dance act before her marriage. At any rate Joyce seemed to learn to dance before she could walk, bouncing up and down on her crib, hanging on to the sides in wide-eyed glee. While other children were learning to recite "Twinkle-twinkle little star," Joyce was doing the buck and wing on the kitchen floor. When she was four years old she had a regular dancing routine down pat enough to go on the stage. "I just seem to dance naturally," she explained. "I never had to learn. I always wanted to dance and it never has seemed like work to me. When I went to study with Theodore Kosloff he didn't believe that I had never taken lessons. My toes were hard and strong and I needed very little training for ballet numbers. While I was doing ballet steps I decided to try jazz routines on my toes. I did the buck-and-wing and tap steps and switched into* the Charleston and Black Bottom. That's how I happened to go with the Fanchon 6? Marco and musical comedy shows on the West Coast. "I still wasn't satisfied and when the adagio craze started I went adagio and was thrown all around the stage for months in those wild acrobatic numbers. No, I didn't know a thing about acrobatics. I just let myself relax and take the falls best I knew how. "I love to make up difficult dance steps and master the triple-wing, web-foot and fast rattle on my toes. It's mighty strenuous work but I love to do it and get a big kick in springing new steps of my own manufacture. Joyce, who looks like Viola Dana, by the way, has ambitions to go in for dramatic acting and confides a wish to be another Norma Shearer. She has the bluest eyes you ever saw and a finely-chiseled profile to match a beautifully-moulded figure. She is only five feet tall, slender and trim, with muscular grace. And why do they call her the Cinderella of the Iron Slippers? She's so light and tiny, you see, they had to nail metal cleats on her dancing shoes so she would make enough noise to suit the 'mike.' \