Silver Screen (Nov 1936-Apr 1937)

70 Silver Screen for December 1936 7 COLORLESS— Pale, sera; scanty lashes — eyes seem small, expressionless. A definite need for proper eye make-up. CONSPICUOUS-Ordinary mascara overloading the lashes in heavy, gummy blobs. Hardlooking and unattractive. CHARMING— Dark, luxuriant lashes, yet perfectly natural in appearance — with Maybelline. Eye make-up in good taste. '4 J^mlii^Md Your eyes are your most important beauty feature — or they should be! Are you making the most of their possibilities by framing them properly with long, dark, lustrous lashes? You can do this best by applying just a few, simple brush strokes of harmless Maybelline, the eye make-up in good taste. No longer need you worry about having pale, unattractive lashes, nor fear that hard "made-up" look if you darken them — with Maybelline! Maybelline is non-smarting, tear proof, and absolutely harmless. Cream-smoothness of texture — utter simplicity of application — tendency to curl the lashes into lovely, sweeping fringe — these are some of the wonderful qualities which make this the eyelash darkener supreme. You will adore the other delightful Maybelline Eye Beauty Aids, too! See with what ease you can form graceful, expressive eyebrows with the smooth-marking Maybelline Eyebrow Pencil. Try blending a soft, colorful shadow on your eyelids with the pure, creamy Maybelline Eye Shadow — it deepens and accentuates the color and sparkle of your eyes. ■jif Maybelline Eye Beauty Aids are preferred by more than 10,000,000 discriminating women as the finest that money can buy — yet they are nominally priced at leading toilet goods counters everywhere. Generous introductory sizes of all Maybelline Eye Beauty Aids may be had at all 10c stores. Try them today — you'll be delighted ! Maybelline's worldfamous, economical Solid Form Mascara, in the brilliant red and gold metal vanity — 75c. THE WORLD S LARGEST SELLING EYE BEAUTY AIDS cently and certainly there -^vas no reason why the two people concerned shouldn't conduct their private lives in any way they sau fit. It wasn't that Franchot Tone, who was one of the guests, was shocked. It ■\vasn't that he ^\'as surprised or being naif. The thing that made him indignant, was the casual A\ay everyone discussed the story and how perfectly plausible it was that thev should know about it. "\Ve all kno\\' what goes on in the ■irarld today," says Franchot, "and ^^'e know that certain conditions do exist and certain things do happen. There are intimacies that ■\ve kno^\' about— but we never discuss them as table talk. They only concern the parties involved. \Vhat can it possibly matter -what others do, as long as they don't hurt us? It's strange that Hollywood, pointed out as the artistic center of the world, should still have this Main Street attitude and intolerance." The time and effort others give to things that don't concern them, Franchot devotes to improving himself. When he discovered that there actually was a possibility of an operatic career, he went to work ^vith a vengeance. Back at Cornell, Franchot had a classmate by the name of Harold Smith. He Tvas an excellent musician and after graduation he became an organist. "When Franchot decided to get an accompanist to wox'k w'lih him at home, he located Harold Smith. Letters were exchanged and as a result, Smith is now in Hollywood and -^vorking for the Tones. "When he isn't practising, Franchot ^vorks otu with Bob Howard, a capable trainer. He is putting himself in excellent condition, because he knows that as long as he remains in Hollvwood, work wiW predominate his life. "When the day comes that he can get away, he wants to be capable of handling all the things that are in store for him. On account of his singing, he only indulges in an occasional cocktail. His cigarettes are imported from England and are a special mild brand. For di\ersion Franchot plays chess. He loves the game so much, he takes a miniature set to the studio with him. Recently he discovered a third assistant director, who has won several chess prizes, Franchot uses his personal influence to see that this particular assistant works on his pictures. Ofttimes, Avhen Franchot hasn't anvone to play with, he will sit down and play against himself. E\tx since he deserted the stage and came to Holly\vood he has felt the great urge to retinn for a single play. The offers have been man), but the studio would ne\er give its consent. Just recently it looked as if he ^voukl get away. Plans were made and his \vife was to accompany him, do her Christmas shopping, and see the shoAvs, ^vhile he rehearsed. The final okav from IiA'ing Thalberg was all that Franchot needed. The unexpected demise of the producer naturally upset all the plans. Franchot still holds out hope that he may stage a temporary return to his first lo\e. If he does, New "i'ork ivill see him in person during the holiday season, AVhcn the play is o\er, Franchot ^vill rush back to resiune his contract obligations in Hollywood, Perhaps, dining his absence, Hollwvood producers will disco\er that in Franchot Tone they have a rare indi\ idual. who has retained his rare individualit)'. It's to be hoped that in the case of Franchot 1 onc~;ihscnce will make the hearts of those, who gi\e Franchot to the ^^•orld, grow fonder. SUNK! piCHARD DIX in "The Depths l\ BeUra'," a Columbia picture, becomes a deep sea diver. The regular ecjuipment \ciih a real air-pump is used. Dolores Del Rio is the featured beaulx iu the picture but she u'asn't there.