Talking Screen (Sep-Oct 1930)

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Famous Movie Friendships [Continued from page 84] which he keeps at Big Boy's place, going up there for week ends and holidays between pictures. "And Charlie has a yacht, to which he often invites me," related Big Boy. "I help him run the craft, and we have many a delightful sail and fishing party." An odd incident occurred not long ago, when they played the roles of bitter enemies in Lucky Star. "We had a terrible fight," related Big Boy. "We were up on a telegraph-pole — supposed to be linemen, — and were fighting over Janet Gaynor. Boy ! I was scared every minute for fear I was going to knock him off that little platform, and he was frightened for me, too, he told me afterward. I never did anything so hard in my life as hitting my pall" Charlie tells us that Gwynn is just crazy about Mary Philbin these days, so he is necessarily away from Charlie more than formerly. However, friends they will ever be. JOHNNY MACK BROWN AND GEORGE FAWCETT ARE CRONIES T WAS really George Fawcett, you know, who was responsible for my going into pictures," said Johnny Mack Brown in that funny Southern drawl of his. "And I never cease being grateful." Youth and age — and one of the most interesting and the deepest friendships in Hollywood ! "I was playing football down in Alabama, one day, and Mr. Fawcett, who was working on location down there, sat on the bench. We began talking. I found him a wonderful talker — just seemed to know about everything. He asked me if I wanted to work in pictures. I haxdly knew, but thought I would. "Finally he persuaded my wife and me to come to Hollywood. He -was awfully kind. He even had us at his house for several weeks, until I could find out what it was all about and begin really to make money. "We have been the greatest friends ever since." Next month TALKING SCREEN will present another article of this absorbing series which reveals and explains the sometimes surprising and always interesting friendships of the film colony's great. Don't miss the next installment of this most out-of-the-ordinary feature telling who likes whom and why. Headline Lady [Continued from page 23] vie with Edmund Lowe for first honors in Ihis Thing Called Love — her first talkie, by tlie way — and steal Son of the Gods from Richard Barthelmess, Mr. Kennedy had given Hank the wire to sign her for Pathe. And that's exactly what Henri la Bailly, etc., etc., went and gone and did. He had to talk fast, too. For Constance was Berlin bound to make two Ufa photoplays. Just how fast he talked seems at present to be a much-mooted question. For Mrs. Constance Bennett Moorehead Plant s fifth big headline reads: GLORIA SWANSON AND MARQUIS BREAK OVER CONNIE BENNETT. The story has caused tinkling laughter from Gloria, from Hank, from Constance. The "how absurds" have echoed from Havre to Hollywood like yodels from Alp to Alp. Yet — Constance has a way of making things happen. If she wants them to. ND that's her story — "up to now," as Al Smith says. It's surely not the final chapter, because Constance's career will always be a serial to be "continued in our next." Proud, impetuous, self-willed, utterly selfconfident, self-sufficient, Constance possesses all the sudden fire of her father. Like her sister, Joan, she has the reputation of being ritzy and snobbish. The appellations are not deserved. From the kid days when she made servants whom she didn't like walk three paces to the rear, Constance has resented a too great familiarity from persons who failed to find a place in hex not-easiiy-bestowed af fections. And she has always reserved to herself the right to select those with whom she cares to associate. Yet, she can be the most gracious hostess. And, when she chooses, it is no trouble at all for her to make herself thoroughly and completely adored by any with whom she may come in contact. ]IHE is most solicitous of casuals, but sees little of her family, though Joan and Barbara and their mother have remained rather close despite the trials of separation necessitated by careers, and the severing of old bonds for the making of new ties.' Generosity is an integral part of her makeup. Yet, she can be ruthless, too. She permits nothing to stand in her way. Whatever else may happen, she, as an individual — an ego, must go on. Sometimes it seems i though she is driven by the lash of destiny. Maybe she is. She is the son of girl women grow mad at — and men mad about. Which is more or less as she would have it. For she prefers masculine companionship. At least, she says so to masculinity. Despite her perfect poise there is something tempestuous about her. Something remindful of the deep waters of a calm lake, which may at any moment surrender to the mad, wild, devastating freedom of the storm. Her blue eyes seem to darken as though they reflect her emotions, the soft mouth can become c>'nically thin. She never seems a fixed quantity. She's changeable as — as an opal. Which, you recall, is her birth stone. 96