Screenland (Dec 1933-Apr 1934)

for December 19 3 3 85 other actress in the world," he said with sincerity. "In the first place, she's a grand trouper. In the second place, it gives us a new bond of mutual interest. We both want the play to succeed, for ourselves and for each other. In the third place, there is no trace of professional jealously between us. That jealousy is, I believe, the fly in the ointment of so many professional marriages, especially in Hollywood, where conditions change over night. Today the wife is the star, the big attraction. Tomorrow the husband may be given a picture which will carry him higher than his wife. Up and down go their places in popularity and up and down go their emotions. Jealousy creeps in and happiness is doomed." Edna is radiantly happy over her husband's success in films. But Herbert doesn't want to be the sole owner of the glory. He hopes to make pictures with Welcome home, Connie! Constance Cummings, home from England, plays in "Broadway Through a Keyhole, "with Paul Kelly. her just as he has done plays with her. "I work better when I'm working with Edna," he admitted. "She doesn't know the meaning of the word flattery. She criticizes my performance with intelligent clear-sightedness. I'm not saying that we are superhuman or anything like that. I don't know what might happen to us if Edna were a star in one studio and I were working in another, making pictures in exact competition. But I'm inclined to believe that our marriage is so firmly anchored on joint experiences, that we would survive that test without feeling any deadly ' professional jealousy." In Hollywood the Marshalls are living in the home of their good friend and fellow Englishman, Ronald Colman. They inherited the Colman servants, quiet unobtrusive English people. They use the Colman cars and live in the Colman quietness, there in the walled hilltop house. But they do not limit their circle of friends to a few intimates, as Colman did. The Marshalls like people. They go about with the British colony members and with the American film folk. When in Hollywood they do as the Hollywoodians do. Just as in New York, they are New Yorkers. And in their beloved London, they are typically Londoners. "Monotony is another seriously disturbing factor" in marriage, in Hollywood as well as anywhere else," Marshall continued, "People who stay in one place, no matter how exciting it is, become too much a part %{ it. Unconsciously they become a little bored. with it and then a little bored with each other. Understand, I'm not advocating these separate homes or separate vacations from marriage. I believe that two people who care for each other should take their vacations from their environment together. Edna and I stay in each place just long enough really to enjoy it and to leave, looking forward to a return." ' Before they left England a short time ago, the Marshalls bought a lovely, picturesque river-side house and installed an old boatman caretaker to look after it during their absences. Now they are looking forward to returning to it, after they have enjoyed Hollywood and New York. Their life 1 is one continual looking-forward to something, so they don't tire of anything. More Adventures in Hollywood's "Grand Hotel" Continued from page 31 activity and excitement and unexpectedness of a motion picture lot are things of which it's impossible to tire. Once you have their odor and atmosphere in your nostrils, you can't get them out again. So I've been told by some of the oldest and most experienced actors in the films, and I can well believe it. To move through a sparkling Paris street for twenty yards, and suddenly find yourself in an old English village among flower-grown cottages — to turn the corner and come face to face with a green and sinister jungle — to pass through a tunnel ' and emerge in gaudy Mexico and out ajain into the brilliance of a fete at an Austrian court — all this thrills the senses and stirs the imagination to such an extent that it seems unbearably cruel to be forced to drag your reluctant feet away from the gaiety and light and music, and return to the solitary confinement of your rell. Those are the moments when a writer's job seems to you the hardest, the most desolate and thankless in all Hollywood. A writer may be given one of three types of assignments. He may be told to write an original story and work it out according to his own notions. This may happen, but it doesn't happen often, the reason being that there is no human way of judging how an original story will strike an audience. There is no touchstone, no test to which it can be put. You may have the freshest and most original idea in the world— its very freshness and originality will frighten the movies off. "It's never been done before— how do we know they'll like it?" They — the million-headed ogre and god which is the movie public, by whose smiles or frowns the movie world lives or dies. The second and most pleasant type of assignment is to be given a good novel or Consider your Leashes Its a conceded beauty fact that curling lashes make the eyes seem larger and infinitely enticing. Did you know that with no trouble at all you can make your lashes curl? The secret lies in a gadget that looks innocent enough. You slip your lashes in it. Squeeze the handles, and presto, they curl divinely ! No heat. No cosmetics. And the effect is as rav ishing as any youVe ever wished for! At toilet goods counters everywhere. $i. KURLASH Would you li\e our booklet on lovely eyes, and how to have them? Write us for it. 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