Screenland (Nov 1936-Apr 1937)

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New York Institute of Photography 10 West 33 Street (Dept. SO) New York EARN MONEYS HOME Address envelopes, list names, sew, • do other kinds of work. We show ^ you. Send 3c stamp for details to WOMEN'S SERVICE LEAGUE 17 Roxbury St., Dept. Sll Keene, N. H, (He completed his time payments on it not so long ago.) He struck out for California alone and plunged into more grief en route — he forgot to have his new possession overhauled. ''When I arrived here I stayed with a friend who was working at Paramount. I figured Hollywood would be more of a small town. And that I would be put to work immediately. Nobody at the studio paid any attention to me. I'd been so on the go at college I hated sitting around. I didn't make many friends, because I can't be a good-time Charlie. It was suggested. ; gradually became acquainted, that I stick around the publicity department, that I date some prominent actresses — to get my name into circulation. It's a pain for me to be forward ; and I was irked at the idea of having to be that way to land a part. "I met Fred MacMurray and Kent Taylor, and they were swell. When I kept reminding the casting office of my presence they finally gave me two bit roles. Nobody told me to go to Phyllis Laughton ; _ but I heard Fred MacMurray say he was in one of her plays, so I introduced myself to her." A briei conversation with John and she sensed his potentialities. She assigned him the lead in "Small Miracle," which she put on in a regular Hollywood theatre to show off the contract talent. All the producers and directors on the lot attended. "For about three days I believed I was going to start going places," John remembers. Then the praise for his performance faded. In two more months he was given another bit. Meanwhile he'd moved from the $3S-a-month apartment he'd rented when his salary commenced. But into one only a little nicer. And a couple of weeks after his option was taken up, (at the end of his initial six months), he secured an agent. In Hollywood agents are generally of considerable value ; they fight for parts for their clients. Still, two more months of idleness passed before John had his chance. Kent Taylor and Donald Woods were tested and, as a final resort, John — for "Annapolis Farewell." He stole the applause from those young veterans Tom Brown and Richard Cromwell. The ball had begun rolling. Hecht and McArthur saw that film in N'ew York and wired for him to be their hero in "Soak the Rich." On his return trip he brought his parents to Hollywood to live with him. He was then second fiddle to his pal MacMurrav' in "13 Hours By Air" and that merited soloing in "Border Flight." Frank Capra had the choice of all the town's juveniles and gave John the highly emotional role of Ronald Colman's brother in "Lost Horizon." And that loan-out cinched him in his own studio, and for the male lead in "Valiant Is the Word For Carrie." Now he's making "Right In Your Lap." Whenever he has a doubt about how to do a scene, though, he dashes over to Phyllis Laughton's office for advice. He'll always be open to suggestions. I promised to tell you more of his house. It is on a modest street in central Hollywood, a plain white cottage with a humble front porch and an interior that's not an "interior"— if you follow me. It's merely unpretentious middle-class, but it's sunny and comfortable. "It's cheap — the rent, I mean," John asserted. That's the chief attraction. Can you visualize the run-of-the-mill favorite deliberately keeping his feet on the ground like this? "I do want a better home." he amplified, "but not until I can afford it. I can't until I manage to accumulate some capital." "So you don't have to spend all your earnings?" I interposed. "Certainly not! I've saved from the beginning. 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