Screenland (Nov 1941-Apr 1942)

"SKIN HELP... QUICK" Cried College and Career Girls SO Helena Rubinstein presents YOUNG COMPLEXION BOX 2.00 Helena Rubinstein knows so well the beauty problems of young girls and young women that she creates this special Young Complexion Box. It contains six famous fundamentals of beauty : three make-up items that will make you glamorous instantly; three treatment preparations to aid in correcting oiliness, shine and skin imperfections. Here is your complete Helena Rubinstein Complexion Outfit: 1. FLOWER PETAL FACE POWDER mist-soft 2. APPLE RED LIPSTICK . . brilliantly flattering 3. SNOW LOTION — exquisite foundation 4. PASTEURIZED FACE CREAM— famous manypurpose cream beautifies every skin 5. BEAUTY GRAINS — wash for pore-openings clogged with surface impurities 6. MEDICATED CREAM for slight blemishes Ask for the young complexion box at your favorite store or send coupon with 2.00. Helena Rubinstein urges j-v you to write her about J^bBm your beauty problems jMf*. . . 715 Fifth Avenue. Helena Rubinstein^ Dept. SU 11-41 715 Fifth Ave., New York, N.Y. 2.00 enclosed. Please send the YoungComplexion Box, Na Street : City States CHECK □ MONEY ORDER □ CASH □ CO. D. □ for movie children." It's interesting. Jane, like every other movie child I know, would have gone to public . schools. On account of the number of children in a class, none of them receives a great deal of individual instruction. The studio employs a special tutor for children on the lot. In the case of stars, each child has a tutor of her own. The state insists upon it and the studio pays the teacher's salary. So she is really getting a better education than she would if she were not in pictures. As to over-work, not only the Gerry Society (which used to be the nemesis of theatrical producers) but most states have very stringent laws about the number of hours a child may work. In Jane's case, she reports to the studio at 9:00 in the morning and never stays later than 5 :30 — usually only until 5 :00. So the most time she ever puts in is nine and a half hours. But out of this she gets an hour for lunch (when she rests). Three hours are devoted to schooling and another hour comes out for recreation. So, actually, she works only four or at most four and a half hours a day— far shorter hours than many children not in pictures put in on other jobs. So far as making fudge and playing tag are concerned, Jane, as I said, is always through work by 5:30 and after that she can play tag to her heart's content. She can make fudge whenever she feels like it. Often, after dinner at night, when her next day's lines have been learned (her lessons are studied on the set between shots so there is never any homework to be prepared) she will say, "I want to bake a cake." There are few households in this country, in circumstances similar to what ours would have been if Jane had not gone into pictures, where even the most indulgent mother can let her child go into the kitchen and take charge of half a dozen eggs, butter and other ingredients without having to think it over. She can have parties as often as she likes when she's between pictures or over weekends. In fact, a weekend seldom passes that she doesn't have from twenty to thirty of her friends put for a swimming party. They love to cook hot-dogs over the barbecue pit. We could never have afforded such things for her if she hadn't entered movies. She loves pets and has around two hundred dogs, chickens, birds, squirrels, etc., in her private zoo. We could never have allowed her to have all those pets if she weren't making the money she is. Since she bought the place where we live, we have added a large bath-house with a rumpus room in the center. Upstairs are several rooms which will be converted into guest rooms when she is older. At present there is one guest suite. The other room houses her collection of dolls. She has around twelve hundred that actors with whom she has worked have given her and that fans all over the world have sent her. They mean a great deal to her. Not only would she never have accumulated so many if she hadn't been in pictures, but if she had we would have had no place to put them. I don't mean to say a collection of dolls is an excuse for putting a child into pictures. I merely say it is one of the pleasures that work in pictures brings and which would otherwise be denied a child. So far as not having a normal childhood is concerned, it seems to me Jane is having far more fun during her childhood than she would have if she weren't in pictures. I don't believe anyone who has met Jane and seen her buoyant, cheerful disposition would argue she isn't having a happy, normal childhood. There is more truth than poetry to the old saying that you can't eat your cake and have it, too. Jane could have had an average, so-called "normal" childhood and then gone out to make her own way. Or she could work (as she is doing now) and have a bright, golden future assured her. If she never worked again she could live comfortably on her income the rest of her life. And, when she is a little older, if she meets some nice young boy and falls in love with him they will never have to worry about whether they can "afford" to marry. It seems to me she has profited tremendously by working in pictures without having sacrificed a single thing. I can't honestly advise any mother who thinks her child had outstanding talent to keep him or her away from Hollywood if she is equipped financially to weather the period of waiting. But she must be sure the child has outstanding ability. People write and ask how Jane got her break. I always remember a paragraph from an autobiography Fannie Hurst once wrote. She compared one's goal to a speck far off on the horizon. As you march along the road that speck grows larger and larger and finally takes form. She ended by saying, "There are no two roads alike that lead to Rome. Every pilgrim is his own pathfinder if he would know the glory of seeing that speck out there on the horizon quiver, ray and break into star points. / haven't found success tot be a hollow bubble or shekels tin. Success, even the outer rim of it, is carpeted in star-dust and cheap at any price !" I can't tell you how to put your child into pictures. I only know that when they go over and you know they've won for themselves things you could never give them, it's more wonderful than any dream you've ever had. She's Blitzing Father Time! Continued from page 51 Gloria Somborn, who looks like her mother, and Joseph, who doesn't. The Swanson picture career moved on apace, shaking loose the bonds of matrimony in its rush. About 1926 Gloria was dispatched to France by Paramount to make an ambitious version of "Mme. Sans Gene." The home office decided that it needed something big to bring it in with a flourish. What could be better by way of launching the new picture than having a brand new Marquis arrive with it? Gloria did it. But brown. She steamed up the bay as the Marquise de la Falais de la Coudraye (stop me if I'm off-key) and anybody who met her in those mad, regal days will never forget the experience. She made royalty seem commonplace. She re served floors at hotels, not suites. Her whim was of iron. Before many pictures had succeeded "Sans Gene" Connie Bennett relieved Gloria of her Marquis, and before you could turn the page of the roto section there was young Michael Farmer leading Gloria down the aisle. He was the father of Michele. In a few months he was out of the picture, but this sketchy scenario is furnished to give a columnist's view of the Swanson way. She is dynamic, sharpwitted, and as vivid as they come, pictorially. Now after a decade of globe-trotting she has come back to pictures in a comedy called "Father Takes a Wife." High noon is death to glamour, but Gloria took the hurdle like a thoroughbred. 66 SCREENLAND