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and the two of them breakfast together merrily. Missy jabbers away in her double talk and when Irene laughs she out-laughs her. It's like a gay party. No tip-toes and no sour faces, and not a cross look out of Irene even when Missy shoves a piece of buttered toast in her face and upsets her milk on the bed. When she is dressed and ready to leave for the studio Irene will say, "Missy, come kiss Mummy goodbye." But Missy won't come. Missy is a smart kid. She knows that the longer she refuses to kiss Mimi goodbye the longer she can keep Mummy with her. But finally, cornered, she gives in, and Irene with a nice sticky kiss on her cheek dashes for the studio — stopping in the driveway of course, and then in the road in front of the house, for frantic goodbye waves. She who used to be so prompt is now rarely on time. The studios are thinking of writing Missy a letter.
Fernand G'ravet returned from making his first English-speaking film for Warner Bros, in Hollywood, "The King and the Chorus Girl." He is most amusing in his impressions of Hollywood. Then, out of the dim past has emerged the familiar features of Sessue Hayakawa.
It seemed like the good old days when I watched Sessue Hayakawa working at Joinville, near Paris. The famous author, Maurice Dakobra, on a tour of the world met Hayakawa in Japan and succeeded in luring him to France to play the lead in his film "Yoshiwara." So out at the studio he is working on what I'm sure will be an Occidental come-back. In studying him, the same enigmatic mask of a face is there, and time seems to have left scarcely a mark on his placid features. It was interesting to hear his experiences. During the last few years he has been in Japan. He formed his own company to make films there and produce plays in a Tokio theatre. They gave the old classics and Hayakawa translated American plays into Japanese and produced them. Knowing the Japs like to spend a week-end or endless hours in the theatre, I asked him how he managed it.
"Oh, I would present three American plays during the evening. It worked out very well, for out of the three they would surely like at least one or possibly two." His French is not so fluent so I wondered how he would get along playing in a French talkie. He enlightened me thus, "I play the part of a poor coolie who is hopelessly in
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Irene tries so hard not to show that she is proud of Missy — but Dr. Griffin makes no bones about it, he is bursting with pride. Irene will tell you that she doesn't think people are interested in other people's babies, but no matter how hard she tries the conversation eventually works around to one of Missy's latest escapades. She is keeping a baby book of all of Missy's "firsts," and very sadly just the other day pasted Missy's first engagement ring in it. A friend of the family in Chicago, it seems, sent Missy a small diamond ring, asking her to be his future bride.
Irene can hardly wait to get home from the studio these nights to find out what Missy has been up to during her absence. What her new picture, "High, Wide, and Handsome" is about she's a little vague. She has to be home before seven to see Missy eat her puree. No, she isn't proud of Missy — not much she isn't!
love with a gorgeous Geisha girl. I can only admire her from afar and generally have to take the rich young officer in my rickshaw to see her." So we will be treated to Hayakawa's matchless pantomime while the others burst into speech. The part of the Geisha is played by a lovely little Japanese lady named Michika Tanaka. She looks as though she had just stepped out of an old Japanese print in her beautiful, rich robes of a Geisha. An interesting example of a modern Japanese girl, she speaks several languages fluently. Has made films in Vienna and Berlin. After singing in "The Geisha" and "Madame Butterfly" in Vienna she became quite the idol of that city by the Danube. In fact she married a rich Austrian and before coming to Paris to play in this film was a great success singing in London. There seems only America left for this dainty young lady to conquer, so no doubt she too will harken to the golden call of Hollywood.
Very soon another one of our fair Parisians will be bursting onto Hollywood. She is Danielle Darrieux. Not yet twenty, she is a huge favorite on the stage and screen in Paris. She played opposite Charles Boyer in his last French film "Mayerling," and since its release has always said no to Hollywood offers. The poor darling could hold out no longer so when she finishes her present film she will start on the long trek to California.
"Oh dear, oh dear, and I've never been further away from home than Coney Island! A wild flutter of the most beautiful hands in filmdom and — surely you have guessed it. Yes, my dears, it's Zasu Pitts.
After making an endless number of films Miss Pitts took unto herself a holiday. No sooner did she land in London than she was snatched up to do a film. This done, she decided to scamper over and see what Paris and a bit of Europe look like. More and more bewilderment and surprise that people would take such an interest in her. Aside from all that, she wants to play serious parts, but each time she gets serious the audience bursts into laughter so she has about resigned to her fate of being a sadeyed comedienne. Even when talking to you casually she seems on the verge of tears.
Volumes have been written about her hands and, as an artist, I must add my nickel's worth of their praise. They rise and fall, flutter and fly away with each emotion. When you are settled to watch them in a moment of repose, off they flutter again. All this European trip meant a lot to her, for she misses nothing. I would like to be a little mouse in a corner and hear her describe the trip to her children. They are
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