Screenland (Nov 1938-Apr 1939)

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FREE BOOK "Art for Pleasure and Profit" explains our proven method and describes TWO ARTISTS' OUTFITS given students. Mail postcard now. State age. STUDIO 173M, WASHINGTON SCHOOL OF ART 1115— 15TH St., N. W. WASHINGTON, D. C. 88 Dirty Faces." "The food is laid out and everybody helps himself. If anyone starves, it's his fault. I provide all I can find, and I'm out to enjoy myself, so if they're wise, they'll do the same." She has an array of cold meats, deviled eggs, sliced cheeses, olives, radishes and celery, huge mounds of rye bread, and even higher mounds of potato chips. "I have my favorite recipe for cream cheese to go with the potato chips," she confided. "You add cream to the cheese and beat it up with chopped chives or grated onions. "In Texas we have potato salad, but you can't get good potatoes here. You boil 'em, and dice 'em, and add hard-boiled eggs and chopped chives and plenty of mayonnaise and then just before serving, I add walnuts. If you put the nuts in earlier, the potatoes will turn black. But I must use walnuts — ■ they're my crop. Come, I'll show you!" She led us outside to inspect the six big walnut trees. "Pretty swell, don't you think? And those two deodar trees there — I decorated them for Christmas with lots of lights, and were they lovely? Don't look at the patio and garden as they are now. I haven't been here long, you know, and they are run-down. Will till my grand gardener and I get through with it, we'll have lots of new flowerbeds this spring. That's the badminton court and that's the ping-pong table. I'm having them lit for night-playing, when the weather gets warm. Then we can play out here when we get tired of dancing or playing records." Gwen Woodford, Ann's house-guest, came in from college just then and sniffed, hopefully. "Chicken! Annie's chicken!" she cried. "When do we eat?" The chicken was done to a golden-brown turn. Hot and crisp and fragrant, it came to the table, and we all sat down to devour it accompanied by little hot biscuits concocted by Elizabeth with what seemed to be a twist of the wrist. Was it good? It was ! HOT BISCUIT You make this without rolling the dough. The recipe makes 12 biscuits in a muffin pan. 2 cups flour 4 teaspoons Calumet baking powder % teaspoon salt 4 tablespoons butter % cup of milk You may need a little more milk. Sift into a large bowl flour, baking powder and salt. Mix thoroughly. Add butter and cut into small pieces with a knife, then with fingers and thumbs flake the butter until no lumps remain. When butter is flaked, then further mix ingredients by lightly rubbing between fingers and hands. Keep fingers stiff and slightly apart and go through the mixture, lifting it and lightly rubbing it until it looks almost like flour again. Add milk and lift mixture over and over until it combines into a rather wet dough. Then pick up pieces of wet dough and drop them into clean ungreased muffin pan. When oven is hot (450 degrees) put biscuits as near center of oven as possible and bake for IS minutes, when they should be a rich golden brown. Ann was dancing again. The victrola had gone back to La Conga. "Bring your chicken with you. You didn't see the bedrooms ! This is Gwen's in knotty pine with brass ship lamps and maps on the walls. I don't know quite why. And this is mineall in blue and gray. Is that sumptuous? Look at my dressing room — that's beige taffeta on the walls and rose drapes on the dressing-table. Come back ! Let's finish that bird. NOW, can I fry chicken?" She can! SCREENLAND Important Women of Motion Pictures Continued from page 65 raves — not only because they are the most expert examples of the use of Technicolor up to date according to a number of experienced cameramen, but no one can see the parade of tall slender beauties without remembering the superb loveliness of the Ziegfeld Follies. As a matter of fact, Florenz Ziegfeld did have a definite influence on Vyvyan Donner's work during the era when she was known as "The Girl Who Owns Broadway"— or perhaps we should say she had an influence on his productions. She was in the early 20' s a frequent contributor of ideas and costumes for Mr. Ziegfeld's The Princess Baba, daughter of the White Rajah of Sarawak, who makes her film debut in "You Can't Cheat an Honest Man." shows. American models look upon engagements with this astute young woman with somewhat the same pride that an American stage beauty referred to the fame of having been picked for the Follies. It is generally acknowledged that the most beautiful models in the world appear in the fashion sequences directed by Vyvyan Donner. These girls are delighted to work with her not only because it is always a pleasant experience to do so but because she manages to give her models a little experience in real acting in addition to the parading of styles. Several of the lovely wearers of her ; stunning fashions have gone to Hollywood. Phyllis Brooks and Priscilla Lawson, for example. Michael Whalen is one of the young men whose natural talent for acting was sharpened when he was wearing clothes under Miss Donner's watchful eye. Stanley Hughes and Alan Curtis are also screen drama comers who have worked in the Fox-Movietone studio which was especially enlarged so that Vyvyan Donner could prove that clothes _ make the most vital kind of newsreel subjects. "One of the main reasons why I think our little sequences are successful/' Miss Donner said to me the other day, "is that clothes have a far deeper connection with i