Screenland (May-Oct 1931)

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Y. sarily serious or that these women go too far, for I think as a rule when she sees that she is getting into danger, she turns and runs as fast as she can. But women do love to play with fire." "A few years ago, when women were dependent, they had less chance to be faithless," is Edmund Lowe's opinion, "but now men and women are alike. If a man is a Don Juan or a woman a flirt, that doesn't condemn the sexes. "I do believe, though, that women enjoy notoriety about it more than men do. Take Peggy Hopkins Joyce, for example — she seems to revel in rushing from husband to husband and keeping her affairs in the limelight. Men hate it. I don't know of any man who gets a thrill out of his infidelity. "All through history, much is made of the vamps, such as Cleopatra, Josephine, Du Barry, and so on. Against these, stands but one man — Byron." "There is no such thing as constancy today in the sense in which we read of it in olden time. No modern Jacob could hope to serve seven years for a modern Rachel, for by the time the first year was over Rachel would have decided not to wait for him," states Ramon Novarro. "She is business-like today. 'This man is hopeless. He will never be able to marry me, and my youth will soon be gone. So I will get another man just as good.' " "Sad to relate, women are more faithful than men," sighs Mary Nolan. "I've known mountain women who clung to faithless men and wouldn't give them up. That primal instinct is in every woman. If she loves a man, she can't wean herself away from him, or she couldn't until civilization taught her she was lacking in pride and self-respect. Now she may become divorced from the man she loves and so no longer be capable of being true, but by nature she is faithful." Mary Brian's reason for disagreeing with the savant is that women have more sense than men. "Men are like boys and seldom grow up. They like adventure. But women take on responsibilities when the time comes for them." According to Kay Francis, women are unfaithful in mind only; it is men who are actually so. Richard Arlen thinks men hold the record, though married women may upon occasions seek excitement in forbidden fields. "Circe has been held up throughout the ages as an example of feminine wile to lure men from fidelity," says John Boles. "Kipling's poem 'The Vampire' is also quoted. But these alibis are inadequate. Women are and always have been more faithful than men. At least, I think so." "Men more frequently make their faithlessness apparent because for centuries society has overlooked any peccadilloes of men, while it condemned women," is Lew Ayres' sage opinion. "Women still resort to white lies to protect their reputations and 'mental cruelty' is an excellent screen to hide behind." "It's the men who kiss and tell Who drive the women straight to hell V laughs Blanche Sweet. "All women would be very glad to be known as good and not bad. For the most part, they are." "Time has shown that men feed on intrigue." declares Natalie Moorhead. "Faithlessness, therefore, can be attributed to express male desire. The insidious seed of intrigue lies dormant in every woman, more so than in a man." That women are much more faithful than men is claimed by a majority. Ralf Harolde, Radio's favorite menace, maintains that if women are ever faithless it is due to the long and careful campaigning of men, and to the conduct of those to whom the women are supposed to be true. Dorothy Lee, a recent bride, thinks a woman always faithful when she is in love. "If she's not in love, she doesn't hold to the code of honor as stubbornly as a man. Women are more practical and less likely to be guided by mossy traditions." "Insofar as marriage is concerned," adds Irene Dunne, "the whole fabric of faith is based on extreme confidence. The first breach destroys faith." "My firm contention is that the single standard is upheld by women by their own wish," insists George Duryea. "Women are more faithful than men because they want it so." "The statement of the eminent lawyer is ridiculous," says Edmund Breese. "Evidently he doesn't understand animal nature. The male species of the animal is polygamous, it is always anxious and willing to cohabit, but in the female the desire is evidenced only in seasons. "More men fall down on marriage vows than women, and the answer goes back to the fundamental laws of nature. "Money plays a big part in weakening marriage vows. There are many cases of a man being faithful to his wife while they were in moderate circumstances. Then when wealth comes, leisure permits more time for new acquaintances. Sometimes it is the man who progresses beyond his wife and forms new and younger ties. Many times it is the wife who develops beyond her husband and the result is a lessening of the marriage ties." Sennetf. Chapter II— Continued from page 65 comedy cops, ducks, geese, trains, automobiles, there was no limit to his ingenuity. "The first thing I learned about making the world laugh," said Sennett, "was that comedies must be short, simple, varied, and human. And they must be packed with action — otherwise they are a total flop. "Making a comedy," he continued, "requires a whole lot of horse sense. You can't do anything without a reason. And you can't get high-hat. People love natural, homey ideas — ideas for 'just folks.' Things that could happen to Uncle Jim or Aunt Min. And not only is this true of American people but of folks everywhere. Once I was doubtful how a picture would go in the Far East. So I called in a Japanese scholar — a highly educated man who had little in common with movie comedies. I had the picture run off for him. 'What do you think of it?' I asked. 'I think it will go very well in my country. It is human." It did go well in Japan, and in many other far-flung countries. And it was in this way that I learned that human nature is the same in Japan, Java, Ireland, Iceland — in fact, everywhere ! "The greatest difficulty of all in producing comedies is to get an idea, a story. I can hire all the comic actors I want but it is the rarest thing that I can find a writer who can turn out a good comedy scenario single-handed. We have a whole staff of writers, working in pairs, some of whom get as high as thirty thousand dollars a year apiece. Two of them will work on an idea until they have given it all they have. Then two more take it, and so on until the whole staff has worked on it. When it's finally finished, we have a gen