Silver Screen (May-Oct 1938)

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Money back guarantee. . .Mail, a 25c coin to— P» 1 GLENNVILLE PUB., 607 Fifth Ave., (DEPT. H.A.). N. Y. C. WAKE UP YOUR LIVER BILE Without Calomel — And You'll Jump Out of Bed in the Morning Rarin'to Go The liver should pour out two pounds of liquid bile into your bowels daily. If this bile is not flowing freely, your food doesn't digest. It just decays in the bowels. Gas bloats up your stomach. You get constipated. Your whole system is poisoned and you feel sour, sunk and the world looks punk. A mere bowel movementdoesn't getat thecause. It takes those good, old Carter's Little Liver Pills to get these two pounds of bile flowing freely and make you feel "up and up." Harmless, gentle, yet amazing in making bile flow freely. Ask for Carter's Little Liver Pills by name. 25c at all drug stores. Stubbornly refuse anything else. from the parlor car or coaches no Sidney appeared. Finally a call of greeting came from down the platform and there she was, her arm. The dog was not allowed in the parlor car but as Sylvia Sidney was allowed in the baggage car, it was there she chose to travel to be near her beloved "Struddles." No novice to the theatre, La Sidney was but returning to an earlier love when she came to Dennis. It is interesting why various movie people try the theatre, and especially summer stock. Madge Evans believes that both the stage and movies will be drawn more closely together in future and that one should perfect one's technique in both mediums. Elissa Landi believes that a change from pictures to stage and vice versa is absolutely necessary to an actress from both an artistic and a commercial viewpoint, while Karen Morley believes that change from picture to theatre technique sharpens the outlook on one's profession, and that summer stock proves a relaxation and the perfect busman's holiday. Be that as it may, all those who journeyed to Dennis this summer found a wealth of experience and considerable charm, and brought the Hollywood touch to a slumbering little Cape Cod town, which in turn, adored them for it. Girls Never Change [Continued from page 21] Stanwyck is less than a niblick shot from Viola Dana. So with all of the rest of them. The truth of the matter is that styles in heroines do not change a great deal. Clothes change, camera technique changes, but basically the love appeal and the power of attraction is the same in 1938 as it was in 1915. The types of girls do not alter. The coquette parades through the years. Some gentlemen prefer blondes, others prefer brunettes. Some want them cold and repressed, others want them more articulate. Basically, however, the heroines of 1938 are the same models, streamlined, that thrilled vour Pa and Ma twenty-five years ago, just as a Robert Taylor is only a counterpart of a Rudolph Valentino. Time marches on, but the fundamentals always are at parade rest. Lost Allure! [Continued from page 25] Sonja Henie is another case in point. She may not be devastatingly beautiful. She may not make you want to be alone with her on a desert island, unless, of course, that island were in the Arctic. But when she swoops across the screen on those triumphant skates of hers, she has the power to keep you just as much enthralled as Clara Bow once did. Unless I am mistaken, the film public, having become much larger than it once was, demands a lot more of its stars than being merely romantically exciting. It is all very well to want to be alone on a desert island with him or her, and there are a good many hers who affect me that way, but there are a lot of other appeals which an actor or actress can use. If you look up that word glamour, you'll find that it means witchery or enchantment —the capacity to work a spell. Under the strict definition of the term I insist that a good many top-flight players have it. even though they are not exactly Valentinos or Clara Bows. There is very little scandal attached' to their comings and goings either. When people blame the players for Hollywood's drop off in glamour. I think they overlook this fact. Lewis Stone, for example, would be more surprised than anyone if he found that he had put young girls' hearts afflutter, but that doesn't prevent him from having made all the recent pictures in which he has appeared much more satisfying for his presence. You can think of more than a few others, who don't come within the romantic age limits, who know how to work a spell. The character actors, the comedians, the song and dance experts of whatever age, make up a big chunk of the human fabric of films. Perhaps they haven't got as big a following as the great lovers, but so long as they are performing I can't see that Hollywood has lost all its glamour, new lovers or not. As for the bad B pictures, which so often pop up on a double feature program, they certainly haven't helped the cause of the cinema. For nothing is a surer bet than that a first-rate film helps all other films and that a poor one hurts them. Far be it from me to defend fifth-rate B offerings, but I would like to suggest that in several ways B pictures are well worth seeing. Often they have strong, moving subject matter. Sometimes they have fine, unpretentious performing. When technical resources are used right, they add up to glamour in their own right. Jon Hall and Dorothy Lamour in their sarongs contributed the all-important hu-_ man ingredients and romance to "The Hurricane," but it was the big blow which made the film outstanding. Tyrone Power, Alice Faye and Don Ameche were there to make pulses quicken in "In Old Chicago," but it was the fire which made my blood pressure go up most. A stunning scene can't take the place of stunning players in a show in the long run, but it does contribute glamour to a production. When the scenes and the players balance almost perfectly in holding you spell-bound, as they did for me in "Test Pilot," I say the screen has its old witchery. Mr. Nathan and "Variety" notwithstanding, the motion picture is still the most exciting medium of our day. It only remans to be seen whether or not its glamour can be extended to more than the "smash naturals," as "Variety" calls them. Let's look at_a few of the new season's promises and see what they offer. On the heels of "Marie Antoinette" we are certain to have a number of historical films. From "Northwest Passage" and "If I Were King" through to the much-postponed "Gone Starlets require relaxation, SO Janet Chapman, between scenes of "Broadway Musketeers," puts on her skates. 74 Silver Screfn