Silver Screen (May-Oct 1939)

70 Silver Screen for July 1939 LOOKS AT YOUR LEGS! How It Got That Way! [Continued from page 33] RINSE OFF UNSIGHTLY HAIR This Quick, Easy Way! Well-groomed legs are hair-free legs . . . dainty, smooth and feminine! Keep your legs and arms always lovely. Remove ugly hair as millions of women do— with easy and convenient NEET. NEET is the famous cream that you spread on unwanted hair . . . then simply rinse it off with water. That's all you do. NEET gently, quickly removes hair— and leaves your skin soft, smooth as satin. Avoid Bristly Razor Stubble There are no sharp hair stubs to snag your stockings, and no danger of cuts with NEET. The new knee-length skirts make legs more important than ever. With stockings or without... your legs look lovelier -when they are free from hair. Get NEET today! At drug and department stores. Generous trial size at all ten-cent stores. NEET Just Rinse Off Unsightly Hair '•Never did believe in this stuff but b'George, it certainly hits old man Montgomery right on the button." His long, impatient "t" crosses, with their characteristic hooks on both ends, signify a quick temper which lies close to irritability. "Yep, that's right. Nearly got burned up once because of that temper . . ." Bob, you see, hates to be disturbed when reading. He had told his man Friday not to bother him. Friday knocked again and yet again. "Will you go away!" shouted Bob furiously. "B-but, Mr. Montgom'ry," stuttered Friday, "the house is on fire!" Those "t" crosses also indicate an ardent spirit of enterprise that offsets the virtual lack of slant to his line — which reveals lack of sentiment and a very level head. "My enterprise usually gets the better of my head. Like it did the time, at nine years of age, when I decided to be a storekeeper. I sold my grandmother's afghan and a prized tea pot before it occurred to me that she might object. She did object— strenuously. I didn't sit down for two days and I believe it was then that I began crossing my 't's' so." Despite a trusting, even credulous nature, that will to win should carry him through every time for, unlike Joan Crawford, there is no self-doubt here. His sharp, angular hand points to an austerity of manner that is seldom influenced by outside forces. "There was one ancestor on my mother's side— she was Mary Wead Bernard—who went through that winter at Valley Forge with Washington," observed Bob thoughtfully. "Perhaps that's where the austerity in the family comes in." His angular hand denotes, too, that Bob is a born lover of detail and order. His ties must always be arranged so, his script must be in the same place on his dresser. It's a standing joke among his friends, and when he was making "Yellow Jack," for instance, they moved trees and half the stuff from the pest house into his dressing room. Bob could not even locate his clothes — he had to go home in his costume! Almost everything in his signature combines to indicate a tremendous will-power and self-control. "That came," hp grinned, "after I'd been deckhand on an oil-tanker, paddyon-the-railroad, and night watchman in an alarm clock factory. It took a lot of control not to smash those clocks when they started going off at once!" Perhaps those experiences, which followed his father's death and the crash of the family fortune, account for something else to be found in his writing. A quick wit — that delights in the daily crossing of minds — and the ability to hang on no matter how tough the job. His general downhill writing shows that he suffers from the blues. Friendly as he is by nature, he is apt at such times to retreat into his shell. Which answers a question Hollywood has long been asking about Robert Montgomery. With Ginger Rogers, on the other ham the mind and heart are seen to be in ai most perfect balance. Her good judgmm comes equally from logic as from intu% tion.' , Ginger, in twenty yards of twirling ne; was dancing with Fred Astaire for a seen in "The Castles." Once when she wa doing a solo dance skit in a Chicag vaudeville house, Paul Ash, noted pre ducer, offered her a role on Broadwa; Dream of dreams for a seventeen-yeai old redheaded kid. But Ginger refuse the offer! "I'm not ready yet for Broac way/' she told Ash. "In a year mayb ..." Good judgment plus. In a year sb went to New York and became the st;! of "Topspeed." And so to Hollywood. While her heavily shaded writing ind cates boundless energy, it's an energy the sometimes tends to the eccentric. . Ginger, coming off the set for a re. period, chuckled appreciatively at thi "My writing has been like that since tl days in Fort Worth, Texas, when I d cided to be a rodeo cowgirl. I was te then. I practiced lassoing furniture the house until I broke mother's pet vas I lost enthusiasm after that. . . ." Ginger's line, which moves first upfa and then down, reveals enthusiasms th are apt to dwindle, requiring frequent ei couragement from outside. Her "e" and "r," so much higher th the other letters, reveal pride in her won and her "i" dots, so like dashes, point indomitable vitality. For instance, la summer while Ginger was supposed to resting at Big Bear Lake she discoven an old abandoned mine shaft . . . used walk eight miles every day to explo it . . . took sample ore out herself ai now has engineers operating the mine. Ginger is one girl who can keep h own counsel! No doubt about it. T long lines of her "g's" and capitals she the fixed desire to succeed, considerab lightened by a ready sense of humor ai gay spirits. The florid sweep of her ty% betraying an easy susceptibility to fit tery, is fortunately offset by the tight knotted "o's" and "a's" of native cauHo "That," said Ginger, "is perhaps the t suit of an incident that occurred wh I was going to school. He was twelve, year older than I. He told me I had n curls, he bought me candy. Then asked to borrow my bicycle— ai promptly broke it. I learned the val of being cautious right then!" It is strange about Paul Muni's sig ture. How it reveals — particularly in t printed capital "M" — the artist as well a man with more than average man dexterity. "When I was eleven," shrugged, "I started learning two profi sions. I began working in the theatre " on the side I studied wood carving the same time I took up boxing and violin . . ." He's the original "Gold Boy." Today Muni could step right up the stage as a concert violinist — and could also step in the ring as a pn fighter worth his salt. Notice the club-shaped dot over «i» — an indication of a sturdy, aggressi