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GOOD GIRL
How a dimple and a turnedup nose kept Mary Brian from becoming a menacing screen vampire
By S. R. MOOK
THE trouble with you," said the lady who goes to the theatre with me this month, "is that you're too fickle. If I last a month I'll be lucky. Not," she added thoughtfully, "that you're any great bargain but every time I see you you're raving over someone else. One month it was Constance Bennett, then it was Lila Lee and then it was Kay Francis. Next month I suppose it'll — "
"Still be you," I began gallantly when a whiff of Chanel's Gardenia smote my nostrils and I started to squirm just a little in an effort to locate the seductive scent without letting it seem pointed.
"It's Mary Brian, " said the girl friend
mercilessly.
THF memory of that perfume lingered in my mind. I waited long enough for Mary to finish her lunch and get back to the studio and over I went. For once the gods were kind and I found her in her dressingroom — alone. But what to say.
"Ah, Mary," I began, "you're growing up. You're a big dirrul now, aren't you? You're
Mary Brian says she'll never be a vamp, but the author, who wilted under one of her overwhelming glances, is tpiite prone to think otherwise. Imagine the explaining Mary had to do when Jack Oakie and Neil . Hamilton dropped in.
getting parts with some sense to 'em, ain't you.'' "
"It's the talkies," Mary explained. ""Y'ou see, in silent pictures they could make me as silly as they pleased because no one knew what I'd actually be saying, but if they had me play parts like those when I have to talk — well, it would be just too bad."
[Conthi»ed on page 75 J
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