Silver Screen (Feb-Oct 1935)

64 Silver Screen for August 1935 THE APPLIED RESEARCH SOCIETY . . . is using this space to correct a popular error about ASTROLOGY Astrology is no more related to "Fortune Telling" than is a Doctor's advice to eat certain foods and avoid certain infections. — Or the caution of a Beach Guard that you should keep inside the ropes at high water. Both tell and caution, but do not COMPEL Just so Astrology tells, but does not compel; it cautions, restrains or indicates action on certain Dates and about certain things. These favorable and unfavorable Dates are not matters of chance, but determined by mathematical progression of Star positions from the exact time of your own Birth. That the advice is good and the Dates are accurate can easily be accepted, because of Astrology's absolute accuracy upon intimate personal matters, known only to you. © 1935 A. R.S. Applied Research Society forecasts guide the lives and guard the acts of countless Men and Women in Business, Banking, Education and the Theatrical and Medical Professions. Read letier from Doctor S. H. J.: "I was certainly amazed at the accuracy and deep knowledge you have displayed in casting this Horoscope. I have had work of this kind done many times, in India, Germany and the United States, and I can truthfully say that the work done by you has been the most accurate. I am sending you the enclosed remittance to cast a Horoscope for a young lady who was born on the 17th. 10 A. M." These Forecasts are very detailed (about 20,000 words) and cover full 12 months from date it is sent to you. Being based upon your Birth Date, we must be informed where, what year, month and date you were born. YOUR Forecast will be sent, sealed, for one dollar (bill or check) which will be refunded if you are not fully satisfied and return the Manuscript. Or, if you simply enclose a 3c stamp for postage on reply, the Society will advise of certain Dates important to you. APPLIED RESEARCH SOCIETY 84 Prospect Street • Marblehead, Mass. Garbo Smiles Again [Continued from page 47] mazurka. But Garbo decided to learn the dance and do it herself. Every evening, after she had finished her day's work on the stage, Garbo changed quickly from her picture costume to slacks and a sweater and slipped into the studio of Chester Hale, the dancing instructor. In the privacy of that bare room, with only Hale and a piano player as witnesses, she took off her slacks and practiced in her shorts, as shyly eager and determined as any extra girl in a dancing chorus. And Chester Hale arises to say that Garbo can dance with the best of them. For years publicity pictures of Garbo have been the cause of worry and new gray hairs to the publicity department. Offstage "shots," informal, unposed pictures, have been absolutely taboo on the set of the young woman from Sweden. She would permit only the required still pictures after each scene. At the end of production of each picture, she spent one entire day in the portrait gallery. Aside from that, she refused to pose for any camera. A new still photographer was assigned to work on "Anna Karenina." He decided to try his luck with the forbidden off-stage pictures. He would work until he was ordered to stop. But, to his surprise, Garbo made no protest and no move to avoid the lens of his camera. For the first time since she entered her dignified silence Garbo permitted a graflex camera on her stage. And, to cap the climax, she finally asked the photographer if she could see the pictures. "I have been watching you go snap, snap all day," she explained, smiling. Eagerly she examined the proofs, liked them and asked for prints for her own personal use. Another unwritten law was broken. All these changes may seem small and trivial to outsiders, but they are vastly important to the studio through which she has stalked, a silent stranger. I can remember Garbo's one and only visit to the studio commissary when she lunched with Marie Dressier during the making of "Anna Christie." The Queen of Sheba, herself, could have caused no greater excitement. World famous actors and actresses and authors goggled like thrilled middle western tourists. But why shouldn't Garbo smile and dance and be friendly? The Shearers and Crawfords and Harlows and Bennetts do. There is no logical answer to that question. Garbo doesn't, that's all. At least, she hasn't until recently. Even the return of John Gilbert in "Queen Christina" failed to change her, as people had expected. Gilbert was so nervously eager, so anxiously grateful, that the atmosphere of the stage was charged with a high-tension electricity and Garbo was more aloof than before. Garbo's personal life and her working hours are two separate existences. In spite of all the stories about her loneliness, she has always had a small circle of intimate friends with whom she has dined and played tennis and talked for long, happy hours. But she has always been a complete stranger in her own studio. She was invariably courteous to her co-workers but no one, not even the genial and lovable Marie Dressier, was able to cross the barrier of her reserve. Now, however, she is an active member of her company, playing hilarious croquet on the studio's back lot with Freddie Bartholomew, chatting about Europe with Basil Rathbone, laughing heartily at the crazy antics of the irrepressible Fredric March, drinking tea cosily with Maureen O'Sullivan, instead of retreating to the silence of her dressing bungalow. Not once has she asked that black screens be placed around her set, to insure an even greater privacy on the most guarded stage in Hollywood. She has worked in full view of the company and technical crew and dozens of extras. She posed merrily one afternoon while Adrian, who designed her lusciously feminine costumes for the picture, photographed her with his sixteen milometer camera. And always close to her is small Freddie Bartholomew, studying his lessons, working his puzzles, telling her about his little boy activities. The inevitable question as to what Garbo will do when she finishes the picture has been answered. She will make another film, and probably two, for Metro-GoldwynMayer. So "Anna Karenina" will not be her swan song, her farewell to Hollywood and the screen. Garbo seems more happily content than she has been for years and she has bought a new set of tires for her ancient town car, the automobile in which she has driven since her first days of stardom. That means, according to the few who know her, that she is preparing for a long stay in Hollywood. Several years ago a determined, ardent man, John Gilbert, broke down Garbo's shy reserve. Today a small boy has crashed the barricades and brought her out into the friendly warmth of the studio. Freddie Bartholomew has made her a human, gay woman instead of a mysterious figure, walking on deserted streets, knowing no one, known by no one. All the Romantic Young Things [Continued from page 27] and turned into one of Hollywood's most dangerous and potent sirens. For a long time it was Tom Brown and that was all rather sweet and appropriate, if you ask me. Tom is the intense, freshman type and Anita was (you note that I say was) the perfect ingenue. They were naturals for each other. But suddenly, along with the warm weather and the new clothes and all, Anita blossomed out with goodness knows how many new beaux. The handsome socialite-actor, Bob Hoover, is the latest to be seen taking her here and there between her intermittent appearances with Tom, who looks wistful these days. Then there are Gertrude Michael and Roubcn Mamoulian and Gail Patrick and Bob Cobb. (Bob is the manager of the Brown Derby.) Both these men are a bit older than the objects of their affections. Mamoulian is a serious soul, interested in Gertie's possibilities as an artist as well as in her charms as a lovely young thing. He seems to think that she is pretty frivolous and lectures her about it. I haven't observed that these efforts have succeeded in making her more serious-minded .... but she seems to enjoy it, never-the-less. She called the studio a day or so ago to cancel an appointment to be photographed. When the young man at the other end of the wire protested, she replied, "But Rouben is going away tonight and I have to spend the day with him. You can see .... I must!" A mere detail of her career couldn't be allowed to interfere with her farewell to