Screenland (Apr-Oct 1930)

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"Feminine Secrets" will be mailed prepaid to any married woman upon receipt of 10c in coin or stamps to defray mailing expense. Send your name and address with 10c. The manual will be sent you in a plain envelope. WOMEN'S ADVISORY BUREAU Suite 305 — 5258 So. Hoover St. Los Angeles, Calif. role in "The Adventure of Lady Ursula" in Buxton, England, Marshall soon graduated to roles of greater importance. Two years of touring and he won a part in the London production of "Brewster's Millions," which was followed by an American tour with Cyril Maude. "All of these things just seemed to happen to me," Marshall explained. "I never stood at managers' doors hunting for work. I didn't really 'go after' a single break I have had. It has always seemed that they have come to me. "Sometimes I stop and wonder how I could have been so lucky — and I can even see how unjust it is that so many successful things have happened to one who has not striven for them while there are so many persons who work so hard and struggle so heartbreakingly — only to meet with failure. And a great number of times, the failure is a result of their not being given a chance to show what they can do !" Shortly after his American tour, the war interrupted the histrionic flight of the Marshall meteor and Herbert enlisted in the British Military Service. He served his country with distinction for the duration of the war and was severely wounded in action. As a result of which casualty he limps slightly today. After the Armistice, Marshall joined a stock company in London and for the next three years played a variety of roles in that city. Followed several seasons of alternating between London and New York and it was during this period that he met the lady who was later to become his wife. "Edna was appearing on the stage in London and we met at a party one evening. But we paid very little attention to each other at first. "I came to America for a season or two and when I returned to London, scarcely remembered the charming girl I had met. "However, our paths crossed again and we drifted into a splendid friendship," Mr. Marshall explained with true British conservatism. It was in America, though, that Cupid got in his best darts. Mr. Marshall and Miss Best, appearing on Broadway in "The High Road," took a day off and were married. "We've been married five years," he said. "During which we've spent most of our on-stage hours together as well as our off-stage ones. "In this country, we find it possible to appear in plays individually. But in London, the public will have none of one of us unless the other is present, too. "For a good while now, over there, the names of Edna Best and Herbert Marshall have been associated and that is the way the public expects them to remain. "In fact, we dare not appear in roles which require us to quarrel with each other. I suppose that is because a happy marriage is the ideal deep within everyone's heart. "Our friends in London have come to believe in the happiness and permanence of our marriage — and they don't wish to look upon it in any other light, even for makebelieve purposes. We have just finished appearing in the stage production 'Another Language.' And it was not so successful over there because our roles caused Edna and me to argue violently most of the time." It was while Marshall was appearing in London in "Paris Bound" that Paramount signed him to play opposite the late Jeanne Eagels in "The Letter," which was his first experience before the microphone. Followed his stage appearance in "Tomorrow and Tomorrow" on Broadway, after which he made the picture "Secrets of a Secretary," with Claudette Colbert. Upon completion of that film, Mr. Mar shall and Miss Best (who had just startled a mercenary motion world by turning down a lucrative M-G-M contract to appear opposite John Gilbert in order to remain in the East with Mr. Marshall,) appeared on Broadway in "There's Always Juliet." It was during that time that Josef Von Sternberg saw him and signed him for the lead opposite Marlene Dietrich in "Blonde Venus." It was in discussing his work in that picture that Mr. Marshall's courage became evident. For absolute frankness — when uncomplimentary — is one of the rarest phenomena in Hollywood. "I was very unhappy while working in 'Blonde Venus,' " Mr. Marshall admitted. "Mr. Von Sternberg and I did not get along. I could not understand his method of working and evidently he could not understand mine. "It was only by keeping a firm grip on my self-control — by reiterating to myself that it really wasn't so important whether or not I liked working with V on Sternberg — that I was able to go on. By reminding myself that no matter how unpleasant were conditions, they could not last forever." Mr. Marshall seemed all unconscious of the fact that he was talking as no Hollywood actor has ever dared to speak of a director. He had no manner of saying anything startling — he was simply expressing his honest opinion. And it never occurred to him to doubt his right to freedom of speech. As I warned you, it was refreshing. He was just as forthright in discussing the maestro, Lubitsch, who directed his next picture, "Trouble in Paradise." "As a general rule, an actor's greatest worry is not before he is assigned a role, but afterward. For upon his work, his whole future depends. And his work is definitely dependent upon the direction. "When a player is cast in a Lubitsch picture his worries are over. He can be completely assured that he will be perfectly directed and that Lubitsch will bring out in him a better performance than he ever suspected himself capable of giving. "There is not one thing — -not one detail — about acting, that Lubitsch does not know. He never wastes words, but in his soft rather gutteral voice explains quietlv just what he wants you to do. And he is always right. "It is a pleasure and an education to work with Lubitsch. I hope I may be so privileged many times again." Mr. Marshall would like to arrange his work so that he appeared in pictures for three months out of the year, thus enabling him to make two or three films. The other nine months he would like to appear on the stage, one year in New York, one year in London. He is not especially charmed with Hollywood as a place to live but admits that he has not really had time to judge properly. "During the months I was on the Coast I worked so hard that I had little opportunity to make friends. And it is really by the people one meets and the friends one makes that one judges a place." "Do you think your marriage — or any marriage — has as good a chance for survival in Hollywood as elsewhere?" I asked him. "Off-hand I would have to say that as far as I could judge there were many happy marriages in Hollywood. Most of the people I met were happily married — and had been for some time. But it may have been that I met only the hand-picked conservatives. "I think that in Hollywood, or anywhere else, a sense of humor is the most necessary requisite for a happy marriage. As far as Edna and I are concerned — -here's hoping and believing that we both have