Silver Screen (Feb-Oct 1935)

68 Silver Screen for February 1935 BATHASWEET ES, you can have a lovely, alluring body skin! Easily! Quickly! Just add to your bath a sprinkle of Bathasweet and what luxurious delight is yours! You might be bathing in rose petals, so soft and fragrant is your bath — so beautifying. Gone is all harshness from the water. Bathasweet softens it to a caress — softens it until the water dissolves the impurities in your pores. The best evidence of this fine bland softness is that no "ring" is left around the tub when Bathasweet is used. Skin imperfections disappear — your body takes on a new lovel iness — a new immaculateness — a new health. ..Yet Bathasweet costs very little — 25)5 and 50^ and $1.00 the can at drug and department stores. — a gift package sent free anywhere in the U. S. if you mail this coupon with name and address to C. S. Welch Co., Dept. S-B, 1907 Park Aye., New York. ree BE LOVELY (Double Chin -_»,»,. (Wrinkles CORRECT 1 Crepy Throat ERASE ] Puffiness (. Flabby Skin (. 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Sell SUBTLE, fascinating, alluring. Sell regularly for$12. 00 an ounce. Made from the essence of flowers: — Two odors: Send only (1) Admiration (2) Gardenia A single drop lasts a toeefc/ To pay for postage and handling send only 20c (silver or stamps) for 2 trial bottles. Only one set to each new customer. PAUL RIEGER, 154 First St., San Francisco, Calif. 20/ flKtfene tr°^ TKeaire Ik (40th Yr.) SttiKo, Talkie, Rndio. GRADUATES: Leo Tracy. Fred Antnirc Una Mcrk. l, Zita Johnnn. etc Drama, Donoo, Musical Comody, Ttm-liinr. Dir-otiriK. 1'crnonul Development, Slock Theatre Training (Appooranoej). for CutdoK, write Sec'y LANE, 66 W.8S St., N. Y. Esther Ralston, Francis L. Sullavan, Roger Pryor, Leslie Fenton, Hugh O'Connell, Ralph Forbes, June Clayworth (an English importation) and Cesar Romero. The dialogue is the standard stuff for such situations, where they're all trying to carry on sub-rosa flirtations. There is one humorous bit where one of the men has his arm around the back of a woman's chair, and the man on the other side of her, thinking to put his arm around her shoulders, encounters the other chap's hand and starts holding it. I haven't seen Esther in a coon's age and I'd like to stop and say "hello" but they show no signs of ever finshing this lone little scene and Teddy is getting restless, so we amble out to the back lot where they're shooting the final scenes for "The Man Who Reclaimed His Head." What a gripping story this is! Claude Rains, in the title role, writes pacifist articles for the paper of Lionel Atwill, and they are published under Atwill 's signature. At-will, within a month, becomes the man of the hour in Paris. This particular scene is the exterior of his newspaper office. Bulletins are posted all over the front of the place and there are literally hundreds of people congregated there reading them. Suddenly an old granny pushes her way through the crowd with her market basket. "What has Henri Dumont (Lionel Atwill) to say today?" she inquiries. Imagine my delight when the scene is finished to discover that "the old granny" is none other than Margaret Mann. You may recall Miss Mann as the mother in a picture a few years ago called "The Four Sons." What a performance she gave. Fox put her under contract and publicized her as "The Sixty Year Old Cinderella." She was put under "a long term contract" at a salary of $10,000 a year. What they didn't publicize was that "the long term contract" was really a contract for six months, with options coming up every six months whereby they could keep her or let her go. On the strength of all the publicity she was given, she went home to Scotland to visit her sister whom she hadn't seen in twenty years. When she returned she was notified her option would not be taken up and she has had pretty tough sledding ever since. She is one of the real aristocrats of the screen as well as a splendid actress. Why, with all the craze for May Robson and the late Marie Dressier, someone doesn't give Margaret Mann a chance is something that only the Hollywood moguls, who think nothing is good unless they have to pay a four figure salary to get it, know. Every time I come out to this studio I swear it's my last trip. The place is run like a madhouse. I ask the still man for a picture of this scene. He can't get a picture because neither of the leads (Rains or Atwill) is in it. I ask the script girl for the number of the scene so I can get the dialogue. She's a gal who has to show her importance in some way so she shows it by refusing to give me the scene number. Maybe I'd have had a laugh on this set if Wally Ford, who is in the picture, had been here but he isn't working today. That's the breaks I get. Over at Columbia AT COLUMBIA "Mills of the Gods," feal tilling May Robson, Fay Wray, and Victor Jory, and "Carnival," featuring Lee Tracy, Jimmy Durante, Sally Eilers and Fred Keating, are on location. "The Depths Below," with Edmund Lowe and Jack Holt, and "Passport to Fame," with Edward G. Robinson and Jean Arthur, don't start for another week yet. So there's nothing to report over here. At M-G-M. THERE are several pictures going here but I've already told you about all of them except "Backfield'' and "David Cop perfield," the Dickens' story. "Backfield" is a story about four small boys— Bob Young, Russell Hardie, Stuart Erwin and William Tanner— who grow up together. They steal a car and a kindly juvenile court judge paroles them into the custody of Preston Foster, who coaches a highschool football team in winter and runs a playground for poor children in summer. When the boys grow up they're an unbeatable backfield combination known as "The Four Bombers." Of course, by that time, old Grandpa Foster is coach at Pacific University, so they go there and play on his very fine team. Leo Carrillo, Betty Furness, Russell Hardie and William Tanner in "Backfield." A football story. Russ and his sister, Betty Furness, have a brother (Ted Healy) who is a crook. After he gets out of prison he tries to get the boys to sign up with him for pro football. Bob is all for it as he wants to make enough money to marry Betty. Besides, he's getting pretty cocky. So, one Saturday, Mr. Foster in the role of disciplinarian keeps him out of the game. Next day Bob has disappeared. Stu and Leo Carrillo (a friend of the boys) suspect Bob has gone to join Ted. They get in their car and go after him. There is an accident and Stu is badly hurt. As I, in all my glory, arrive on the set, Stu is just returning home after a siege in the hospital. It's a great reunion all the way around. The boys have gone to fetch Stu and the rest are getting a little party — if there is such a thing as a little party — ready. Suddenly there is a knock at the door. Russell Hardie goes to open it and, lo and behold! —there's Leo Carrillo with a great big cake in his hand. "Oh, hello," says Russ. "Hello!" beams Mr. C. "I am joost in time." Why M-G-M doesn't do something with Russ is more than I can fathom. There is a nice-looking boy who can really act. Only those who saw him on the stage in ''The Criminal Code" can appreciate how well he can act. They've had him under contract for a year and a half and all he plays, is bits while the studio heads go yapping around the country yelling for "new faces." "I've got one of the leads in 'Sequoia,' " he vouchsafes when I start sputtering about his tough luck, "and I'm in hopes that'll do me some good. Here! Try some of this icing. It's swell." The cake is nothing but a big block of wood but the icing is real honest-to-God, grade A chocolate, "the McCoy" as Mr. Winchell would say. They've got a big bowl of it on the set, and one of those little gadgets you use to squirt it on the cake with, in fancy designs. Stu is pushing himself around the set in his wheel chair. You may get an idea of the state of Stu's energy when I tell you they can't even get him' out of it between shots. "Like lo try it?" he asks, getting up