Silver Screen (Feb-Oct 1935)

70 Silver Screen for February 1935 si i pa ted k Since Her yMarriaqe Finds Relief At LastIn Safe ALL-VEGETABLE METHOD IT dated from about the time she was married— her trouble with intestinal sluggishness, chronic tiredness, nervousness and headaches. Nothing gave more than partial relief until she tried a product containing a balanced combination of natural plant and vegetable laxatives, Nature's Remedy (NR Tablets). The first dose showed her the difference. She felt so much better immediately — more like living. Your own common sense tells you an allvegetable laxative is best. You've probably heard your doctor say so. Try NR s today. Note how refreshed you feel. Note the natural action, but the thorough cleansing effect. NR's are so kind to your system — so quickly effective in clearing up colds, biliousness, headaches. And they're non-habit forming. The handy 25 tablet box only 25c at any drug store. f?SI£f *935 Calendar-Thermometer, beautifully dernlLEL Blsned incolors and gold. 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Dept. 127, Chicago, Illinois EARN MONEYatHOMJ Make Extra Money From Your Spare Time doing fascinating, easy, pleasant work — ad ji dressing envelopes, sewing, etc. Send 3c _f stamp for details QUICK I WOMEN'S AID BUREAU 3 Dept. S. U., 276 High Strcot, Holyoke, Mass. dresser with a mirror hanging over it, and a small four-poster bed with a canopy about the top. In the middle of the room is a trunk. Two bags are packed and closed, standing together. Frank is hunched on the floor reading aloud to Madge. Books and magazines are all around him. Madge is packing books in the trunks but is listening intently as he reads. "Oh, I'd best throw this rubbish away, before I leave for London," Frank exclaims suddenly, tossing the manuscript from which he has been reading, with the others. "No, no, David!" she exclaims earnestly. "I'm afraid it's dreadful nonsense," he answers, indicating the pile of manuscripts. Then he looks at the clock. "We must hurry, Agnes. There's the party at the school." "David!" she says solemnly, taking up the manuscript. "It's not nonsense. Your characters may move in a strange world of their own— but in that world they're real. Your work is immature, perhaps, but it's full of promise and I, for one, believe in it." "I will try again, Agnes, in earnest," he promises, taking the manuscript from her and putting it with the others in the trunk. Then he closes the trunk and sits on it, and continues, "But without you— I shall miss you. Whenever I fall into trouble " "And when you fall in love?" she queries softly. "Even when I fall in love," he promises with a half-choking laugh. I like to kid myself that I'm a hardened cynic but I'm really a pushover for any sort of honest sentiment, especially when a girl as beautiful as Madge looks today is practically asking a guy if he'll remember her. All of a sudden I just want to get off this stage before the lights go on so I don't even stop to say "good-bye" to Madge. At Paramount FIRST thing on the program over here is Cary Grant in "Wings in the Dark." They've only just started so I can't tell you much about the picture, except that there was an explosion and Cary was blinded. At first he thought it was only temporary blindness but as we find him in the occulist's office with the occulist (Arnold Korff) and the nurse (Rita Owin), things don't look so good. "Wings in the Dark" is an aviation story played by Arnold Korff, Rita Owin and Cary Grant. "Do you see this light?" the doctor inquires flashing a small light in front of Cary. "No," Cary admits regretfully. "Hmm. Hmm," the doctor vouchsafes. "That will do." "Now, Mr. Gordon," the nurse suggests, "if you'll just come this way, please," leading him to another part of the room. "You might as well be as comfortable as you can." Imagine telling a man who has just been blinded that he might as well be comfortable! "Well?" demands Cary impatiently. "Just as I thought," the doctor informs him, unable to resist the temptation to give himself a pat on the back. "They are surface burns. The explosion did its damage within the eye. The tissues surrounding the eyeball are quite intact." "But I can't see!" Cary cries. "The chief injury results from a major disturbance of the eye fluid, Mr. Gordon," the doctor explains. "Tell me the truth," Cary begs, unable to understand all this jargon, "will I ever see again?" "Cut," orders the director. And that's that. We also have the Empress Dietrich working on what is supposed to be her last picture under von Sternberg's direction — not that it matters. The picture is called "Caprice Espagnole," and, as usual in Von's pictures, they have one of the most picturesque sets imaginable. It's an alley or street in Spain. The white stucco walls of the house gleam brightly in the artificial sunlight. Steps lead from a lower street up to the door of the house which fronts on another street. Dietrich, looking very beautiful in her Spanish costume, with a large comb stuck in her hair, is sauntering along with an officer— Lionel Atwill. "You don't like to be seen with me, do you?" she inquires. "I'd rather our little walk didn't become the talk of the town," he admits. "However," he goes on importantly, "I'm inclined to risk that, if " "If what?" "Well, if it's not too far." "Oh, no," she reassures him, "I live quite near." Despite Miss Dietrich's assurance that she has a sense of humor and could play comedy and despite the reputation Joe has built up as a wit, I've never heard a joke cracked or seen anyone laugh on one of Von Sternberg's sets. There is an oppressive air about his pictures while they're in the making and I am glad enough to report the scene and get on to the next picture. The next 7)ne happens to be "The Gilded Lily," starring Claudette Colbert. It's the first shot in the picture, so I don't have to ask what the story is about. This is one time I can just report the scene and go to see the finished picture without knowing what's going to come next. It's a bench in front of the public library in New York. Claudette and Fred MacMurray are sitting there. He's all sprawled out and Claudette is holding a bag of popcorn. "Big stuff, eh?" Fred hazards. "Watching the world go by." "Right," she agrees. "Big stuff." "Of course," he continues, "there are different ways of watching. Take a guy who eats peanuts. Every time he cracks a shell he has to see that his thumb is in just the right spot. Then he has to take the peanuts out and then throw the shells away. A fellow like that can't concentrate. See what I mean?" "Perfectly," says the understanding Lily. "But popcorn!" he continues, warming to his subject, "popcorn was made for watching the world go by. Look! I stick my hand in the bag without taking my eyes off the street. I throw the popcorn into my craw. I chew, and I'm still looking. That's what I call class!" "Sure," she agrees enthusiastically. "Peanut eaters don't know how to live." "Tell me something," Fred asks, abandoning the subject of popcorn versus peanuts, "do you love me, Lil?" "No-o," she smiles. "That's the way to talk!" he exclaims, all set up over this good news. "No worries, no jealousies, no nothing. Just meeting you every Thursday night and eating our pop