Monoclinic Crystal Structure Sugar

- You know that actors have always been superstitious and credulous people. You can give it to them to drink as the most innocent gossip. Exactly why Hollywood is the ideal place for all the soothsayers, fortune tellers, necromancers e. .. such swindlers. So you ignored the existence of Madame Salomon where he threatens to also lobby for three hours, so much so the crowd of petitioners? So you have not ever knocked on the door of the Wise Orimon? You see that your love affair is booming. Yet Orimon is well known: Just try to speak ill of this fake Indian born in a suburb of London and you will cry all the blame Hollywood. Needless to ask if you have visited the house of Donna Jesus, at the Belvedere. But being a journalist are you? Donna Jesus is the depository of secrets the cream of Hollywood. Run to interview her, and if you succeed you will learn amazing things about Marlene Dietrich, Gloria Swanson, Norma Talmadge, Joan Crawford and many others. And if you want a consultation for you, get ready to bleed your wallet: Woman Jesus, this old half-breed, is expensive and then you always have the obligation to buy its own fake Aztec idol which costs dear, but ... will take some luck. Women
Jesus is famous for having predicted the third divorce of Gloria Swanson and the quarrels that Dietrich has had with his House. It is said that she has been predicting the end of Rudolph Valentino. And when poor Jack Pickford, who died recently in Paris, came to her before going to Europe, Donna Jesusita gli sconsigliò il viaggio.

— E, scusatemi, questa brava vecchietta ha anche predetto la crisi attuale?

— Non scherzate mai su certi argomenti nei salotti hollywoodiani: vi ho detto che gli attori e le attrici sono tutti molto superstiziosi e voi offendereste una credenza assai simile a quella religiosa. Non fu San Tomaso quello che disse: Credo perché è assurdo? Ecco, gli attori e le attrici credono, come San Tomaso, a delle assurdità.

— Voi siete un eretico, un blasfematore...

— Perdonatemi l'innocente paradosso: l'assurdo di San Tomaso è la Divina Parola di Cristo, lo so benissimo, l'assurdo di costoro sono degli idoli, dei and superstitious practices or fetishes, as they would have said at other times, stuff of black magic.

- not only have to burn them alive, like wizards and awarding of the black masses.

- would, after all, healing.

- What are these idols, these fetishes, these superstitious practices?

- gathering could be a very curious museum. You do not know for example that in the palm of your hand next to Greta Garbo has formed a callus. And you know why? Why Garbo has always at hand from an Etruscan idol which never goes anywhere and nervously clutching and continuously. But this is not! Clara Bow, every Tuesday, recita un'orazione speciale per fortificare il suo cuoio capelluto.

— Se la recitasse per rinforzare la materia cerebrale non sarebbe meglio?

— Lo credo anch'io. Kay Francis usa per lo stesso scopo un'altra pratica: ogni mattina, prima di pettinarsi segna una croce col suo crayon nero sulla palma della mano destra. E tutte le volte che incontra John Barrymore lo prega di adottare una pratica così semplice cosi efficace e così cristiana per far scomparire le sue zampe d'oca agli angoli degli occhi. Per raggiungere lo stesso scopo Irene Rich usa un altro metodo: la sera, prima di coricarsi, mette nella lozione dei capelli che userà il mattino dopo un idoletto atzeco vendutole a questo scopo da Women's Jesus.
Norma Shearer is more scientific: it pays regularly in his soup three drops of iodine is thoroughly convinced that a similar treatment to preserve intact the splendor of her beautiful eyes.
You know what makes Joan Crawford when he wants to win the friendship and admiration of a person? With great skill, without the person if n'accorga, pays them a pinch of salt on the head.

- Who knows how many tons of salt will have wasted Joan to make such a dizzying career! I want to try this method ...

- But if you want to succeed in a business of love is preferable to the method of Lew Ayres: He cuts a hair ciocchettina al suo gatto e li sparge, senza farsi accorgere, nel posto dove spera di compiere la sua agognata conquista.

— A quest'ora avrà consumato almeno cento gatti di ricambio...

— Allora è preferibile strappare con le buone e con le cattive il segreto del profumo che adopera Lupe Velez. Lupe dichiara che un vecchio indiano le insegnò la ricetta di questo profumo che rende irresistibile la dama che lo porta...

— Sarà il profumo della virtù!

— Dio volesse! Richard Barthelemess ha un reparto segreto nella serra del suo giardino dove coltiva il quadrifoglio. Quando vuoi conquistare una dama cerca di deporre nella borsetta dell'amata una foglia della rara leguminosa.

— E non ci sono dei metodi per migliorare la propria misera sorte?

— Quanti ne volete. Io vi consiglio quello di Cedi B. de Mille che possiede i migliori alberghi di Hollywood ed è afflitto da molti milioni: nei primi giorni di ogni mese, bruciate dodici foglie di lauro e dodici di oleandro e cospargete la porta di casa vostra con la cenere calda.

— Ma io abito in un hotel!

— Peggio per voi.

— E perché De Mille non consiglia a Roosevelt un metodo simile? La crisi sarebbe risolta con la cenere di dodici foglie di lauro e dodici di oleandro sparse sulla soglia della Casa Bianca. Ma, ditemi non avreste un rimedio per i dolori rheumatic: I suffer from it every time you change the time ...

- Easy: Robert Montgomery every morning he makes a cross over his right shoulder in coal: since then his shoulder, who once broke, it does not suffer anymore. Are you afraid of thieves?

- I do not: they are probably rich, I?

- but it gets! Remember then that there are two ways to protect themselves from thieves first to Adolf Menjou every night before going to bed lights a candle to a statue of Vishnu, and that of Nancy Carroll puts it in the doorway twelve grains of rice. Have you ever thought that someday will die?

- Yes, this is the only thing I am sure the good Lord will take care when needed.

- But maybe when you know?

- I do not care too much.

- yet there are some lucky people who know. Marion Davies, for example, is convinced that it will lose its lovely pearl necklace from donatale WilliamiHearst, the king of the newspapers, ten days before his death. Frank Albertson know the seven who died a month sometime between nine and ten at night. The seven days of every month Frank, not knowing what will happen to the nine, is a good boy, you make peace with God and we are looking at the clock hand.

- And when the ten have passed?

- It puts the fear with a solemn hangover.

(Conversations in Hollywood, October 1932 Kines)

Appendicitis Statistic

Pola Negri: My first film Pola Negri tells



The cinema in Poland
It was only after praying for several months, "Imperial Theater" that I began to get interested again in the movies. I had completed two parts of a lot of successful gestures, that of a slave in Sumurum and that of the protagonist in La Muette de Portici, and several friends would say that my game would have been very scenic expression on the screen. I did not give much weight to this hypothesis, because I would have predicted that the cinema would such a rapid increase. So I returned to the spectacles of cinema without much enthusiasm. We could see three or four films that French and Italian, though of little interest, they revive in me the love for the art dumb.
so ardently wished to interpret one part of a movie, to see what would result. We were in the summer of 1915, the war continued, and even in the most favorable conditions, it would be difficult to wait for a serious production. When I thought that I had to overcome obstacles in the beginning, I was laughing my audacious desire. The first difficulty was the absolute lack of facilities in Poland, there was no one involved in film production, and nobody knew the technique, even in its most basic principles. Moreover, on my own, I had no money at all to deal with such an undertaking.
However, despite all obstacles, I abandoned my idea. During my hours of rest from the theater, I wrote one subject: Love and Passion. It was a story very naive: the adventure of a girl who left the family home to devote himself to the theater and, after some time, became a great dancer. A young man who had loved her long ago, reached after several years, and because they loved each other always, they were married. It was touching.

My first film
When my party was finished, I began to turn in the lab a person who knew not only directed the making of this film, but I interpreted the main part. I had to serve the few means of fortune I possessed, and as technical means of a device that I did not have camera, belonging to the owner of the laboratory. These had always been only an amateur at the cinema, but in a short time, became a very competent person.
Since we did not have sufficient artificial lighting, using only natural light
, and, as actors use to our friends who lent their work very bravely and selflessly, only for their pleasure. Gl'interni shooting using the furniture in my apartment, while the exteriors were shot in a garden nearby. This garden was placed at our disposal, the precise condition that the owner's daughter found in our film.
Despite these almost insurmountable obstacles, Love and Passion was ready in less than a month, and it took me much longer to put it completely in order, to be presented to the public. But when it was completely finished, it constatai pettiness, and I was offered 100 rubles - that is, 400 francs - and I happy, I accepted the contract.
The owner of the film introduced him a few weeks later, and because it was the first work in 5 parts built in Poland and because it played by me, I enjoyed that reputation now, this presentation was sensational. Since then, I was considered a great actress. During the few months that followed, Love and Passion was represented in all the cinemas of Russian Poland, and, to my surprise, got a real success.
In Moscow, it produced such a stir that the complaint and the police did close the theater, where it was represented.

Censorship
The Russian film censorship was very strange before the revolution. Before anything else, the value of the film or ingenuity of the interpreter, it considered any production, solely from the religious point of view. It 'goes without saying that if it was found the least attack alla religione ufficiale, la visione del film era subito interdetta.
La scena principale di Amore e Passione era quella della danza di Salomè, dinanzi alla testa di Giovanni Battista; questa scena era la prova della mia abilità di danzatrice, mentre le altre dimostravano la mia capacità drammatica. Prima di presentare il film al pubblico, avevamo soppresso questa scena, poiché ne immaginavamo gli effetti, benigni per se stessi, ma terribili per la censura czarista. Però l'impresario del teatro di Mosca fu più audace di noi. Egli si procurò il film con la scena della danza del tutto inalterata e, fino al sequestro del lavoro, fece degli splendidi incassi.
Ancora attualmente Amore e Passione è considerato in Russia as a remarkable film and is of
fact that it procured several thousand rubles to their buyers. Here's how I made acquaintance with the cinema. Several artists dramatic protagonists became very popular film, but I believe to be the only one to debut in the part of quadruple producer, director, actress and star. And if someone else did it, it will not have to struggle as it touched me.
During the summer of 1916, the Germans arrived at the gates of Warsaw, and one morning, while my mother and I woke up, German troops occupied Warsaw completely.

Retreat
Russian forces were repelled to the other side of the border, and destroyed all the bridges in order to prevent enemies from advancing again. For a week, Warsaw was bombed continuously, since our troops left the city at once. The fighting that week were among the most horrific I have seen. More than 6,000 people were killed, of course, calculating the losses of the Germans.
At times there was a real rain of bullets. It was well that the Russians had only pieces of small arms, yet they also did enormous damage. Our house was completely riddled with bullets, which they beat in that number on the walls of my room, I had become impossible to enter it to take my clothes.
Despite these terrible events, I was playing every night at "Imperial Theatre 'on the other hand, the Germans forced the theater to remain open and worked for seven nights before empty benches.
We were continually exposed to see a bomb through the ceiling, or to be joined by an errant bullet.
As my mother and I lived in that week, I can describe it. We lack neither the food nor water as usually happens in such surroundings, but the terror of the people was boundless. There were enough hospitals, not enough doctors to treat thousands of wounded. During these terrible days, the Germans kept by force the most rigid discipline, and when the Russians were finally driven, there was the curious fact of having to see how quickly repair the damage our enemies and brought back to normal life in Warsaw. The great escape


I had much luck during those days and those nights of terror. One day while I was accompanied on stage by a friend, the latter was killed by a bullet beside me wandering. Another day, while visiting a wounded man to the hospital, the unfortunate man was killed before my eyes to the outbreak of a shrapnell. All this does not hinder to go to the theater every night.
The occupation of Warsaw by the Germans and the victories of these on all fronts, they arise in us the hope of a free and independent Poland. Shortly after I had resumed my usual life
, what was before the arrival of the Germans. The week of horrors and massacres that I looked more like an eerie dream. But the death of my boyfriend and the weeks of grueling work I had literally torn down, and that would have had a fatal outcome, if I had not changed since the theater.
I've never been too robust constitution and the ongoing trials of new parts I was so tired that all I had to spend a period of time in care of doctors. Sometimes m'accadde of being unable to finish to play my part, so I had to be accompanied home and put to bed. I was no longer sustained by the strength of my nerves. But my buona stella vegliava su di me : stavo per prendere un congedo, quando ricevetti una lettera di Max Reinhardt, il celebre direttore teatrale, che m'offriva un buon contratto per il suo teatro di Berlino.

A Berlino
Nulla poteva tentarmi maggiormente d'una scrittura come prima attrice sotto la direzione di Max Reinhardt, poiché questa era la migliore fortuna che potesse presentarsi ad un'attrice europea. Accettai subito e feci rapidamente i miei preparativi per lasciare Varsavia e raggiungere Berlino.
Nonostante la debolezza della mia costituzione non ebbi alcun timore in questo nuovo cambiamento della mia esistenza.
Come i Berlinesi potessero accettare un'attrice polacca, non potevo comprenderlo ; ma questa accoglienza era excellent opportunity for me to enter the great arena of art and do great things. On January 10, 1917 I arrived at the station eli Friedrichstrasse in Berlin.
Four weeks after the debut "Kamnierspiele Theatre" in Sumrum, under the direction of Professor Reinhardt. When I agreed to write propostami by Prof. Max Reinhardt, who only thought was for me a great chance to get out of life without the glory of Warsaw, but did not think the risks of my new situation. The conditions of life were already very bad in Warsaw, but in Berlin they were far worse. At the beginning of 1917, the food began to fail in Germany and there were bad omens in the air: but I could not explain why I had this feeling arriving in the capital. Every day the city seemed wrapped in a shroud of death: I felt invaded by such a moral vacuum, which was several times on the verge of returning to Warsaw, where I had left my mother. But the theater kept me from leaving.
The day of my arrival in Berlin, began testing Sumurum, under the direction of Prof. Reinhardt, and I was so busy that I had no time to think about my mental disaster. I've never worked as much as during my debut in Berlin. I had already made my share in Sumurum in Warsaw and I thought of making it to perfection, but I had to disillusion when I started working under the direction of Max Reinhardt, and I had to recognize I was conveniently far from interpreting that part.

films Pola Negri in Poland: 1914
Niewolnica Zmyslow (Love and passion of the senses or Slave), Pola Negri, Jan Pawlowski
1915 Beast, Aleksander Hertz
Czarna Ksiazeczka or Zolty Paszport (Passport Calvary yellow or a soul) A. Hertz, Harry Liedtke, Germany: Der Gelbe Schein
Pokoj No. 13 of A. Hertz
1916 Arabella A. Hertz
Jégo Ostatní Czyn A. Hertz
Studenci A. Hertz
zone (the bride) of A. Hertz

Dark Stool Color And Cranberries

2

Warsaw
Now I should give you some details about the apartment that I lived with my mother during the period of 'my schedule with the 'Little Theatre'. It was located on the 7th floor of one of the oldest buildings Senatorska Ulizio and there were no elevators. The apartment consisted of only four rooms, nicely furnished, but they were always full of flowers. Even when I had no money to stock up on clothes, try to save some money to always buy flowers, because when I came back from the theater dark and smoky, where I spent most of the day, I wanted to find the smiling warmth of a flat flowers. Later, I lived the largest and most luxurious apartments, but I never found the same peace and happiness itself.
As you know, Warsaw is a great city with one million inhabitants. Despite this, a play can not take the sign more than three or four weeks, so soon after the premiere of Hanneele Malern, I had to dedicate myself to the study of Sluby Panienskie, a drama of Alexander Fredro, one of the most celebrated Polish writers. Since my success in Hanneele Malern, I was given the main part, that of D'Amelia. My success in this second work was equal to the previous one. Of course I had to give an interpretation satisfying, because it only took me to theater critics, in all the newspapers, the stars, but the same editor of the Imperial Theatre "- the most important of Warsaw - Offered me a script for a year, with a salary higher than that desire I had been assigned to the "Piccolo Teatro". I accepted and signed it immediately, as to support the important parts of the 'Imperial Theatre "had always been my dream to most expensive.

din of war
Oscalito Wilde, whose works I read in Polish, he said: "There are two tragedies in life: one that does not get what they may wish, and the one that gets." I believe that that tragedy is the one that dominates my life. Not that he always got everything I wanted, but because my theatrical career was generally favored.
year I spent the "Piccolo Teatro" was a year of rough and hard: I had to be the evidence to me every morning and worked all day, including Sundays. At this time I had already read a lot, but yet I was still very ignorant and naive. I attributed this to the fact that my life had not been touched by any love. I had little opportunity of meeting with young people. And when, by chance, I went to a tea, or a dinner, I had been invited, I was never alone. On the other hand
love was a minimal concern in my life: I think very little. All my thoughts were absorbed by the success of the theatrical career: the idea of \u200b\u200bwhich haunted me constantly, even when I was collecting in my house.
It 's true that my whole life was concentrated in that one concern: to study new parts and when I had some idle moment, I went in to try sewing my costumes. The months flowed fast and surrenders so in summer, when they came to move us that the first signs of war. He was mobilized with all the feverish movement that brings with it, and the first days of August were days of anxiety and anxiety. The declaration of war had, as an immediate result, the closure of all entertainment venues, and the "Piccolo Teatro", where I was playing, was transformed into a hospital. I immediately
I enrolled as a nurse, and began the difficult educazione impostami dalla nuova situazione. Fortunatamente la riapertura del teatro venne ad interrompere la mia attività, alcune settimane più tardi.
Ho detto fortunatamente, poiché io non ero abbastanza forte per sostenere la faticosa missione di prestar servizio in un ospedale militare, e sono certa che se avessi voluto continuare, la stanchezza me l'avrebbe impedito.

Il dovere
Nonostante tutto, offrii la mia opera alla Croce Rossa, e fui assegnata ad un ospedale.
Mi si affidò la delicata missione di scrivere le lettere dei nostri poveri feriti, ed a tale funzione dedicavo parecchie ore della giornata. Il tempo che passavo con i miei malati ed i miei feriti, fu una rivelazione per me, poiché esso fissò in my heart the concept of duty. Like all Polish patriots, I lived the war with mixed feelings, and, like them, hoping that its conclusion would be freedom. It was this hope that we, with intense emotion, nurtured in early August 1914. At first, the press of armed conflict we announced the great Russian victories: East Prussia was invaded and merrily rang the cry everywhere: "In Berlin." But it came shortly after the German victories in Tannerberg and Masurian lakes and then we learned the truth about the situation.
When the contract that tied me to the "Piccolo Teatro" expired at the end of 1914. I was hired to "Imperial Theatre," where I I went with the wishes of those who loved her. During the new commitment I developed much and the girl aged 16 was transformed into a woman of 17. When
now about that time back, I wonder, as alleged, then knew little of life except what I saw from the theater.


Success I met the first success in Hanneele Malern, and then in a drama of Alexander Fredo: Sumurum, when I was much noticed in the part of slave. Richard Ordynski, who later was appointed director of the 'Metropolitain Opera in New York, was at that time by the "German Theater" in Berlin and I wanted to feel that studying at the time. I will always cherish
Richard Ordynski a memory fond and true, not only because he is a compatriot and a worshiper of his country, but also for its high artistic sentiments.
Although Russia was at war with Germany, it was a work in German debut at the "Imperial Theatre," and that is: The end of Sodom, of Sudermann. I was very happy with this choice, because Sudermann was then one of 'my favorite authors. He finally arrived on the evening of my debut. I had a terrible fear of criticism, but she was very sympathetic towards me. When I awoke the next morning, wherever I kept saying I was one of the most intelligent artists of the Polish theater.
I will not say that very few things in life that conducevo allora al « Teatro Imperiale ».
Il repertorio era assai importante, e poiché non recitavo tutta la settimana, passavo la maggior parte del mio tempo nell'esecuzione delle prove.

Il mio primo amore reale
Fu durante il secondo anno che passai al « Teatro Imperiale », che venne a far parte della mia vita il primo reale amore. Un giovane pittore polacco, dotato di un grandissimo ingegno, venne un giorno ad offrirmi di farmi il ritratto.
Pareva ohe tutto contribuisse a farci innamorare l'uno dell'altra: noi dovevamo amarci, e molto tempo prima che il ritratto fosse finito, ci eravamo giurati eterno amore. Tutto era disposto per il nostro matrimonio, quando il mio fidanzato cadde malato. Egli era tubercolotico. Abbandonai subito il teatro e non lasciai più il capezzale di lui. Nonostante le mie cure, la sua malattia peggiorò di giorno in giorno, ed in una fredda giornata di dicembre, egli morì tra le mie braccia.
La sua morte mi colpì duramente, poiché si trattava del primo uomo al quale avevo dato tutto il mio cuore e sul quale avevo fondato le mie più care speranze.
I giorni che seguirono mi trovarono inconsolabile: non cessavo di pensare ai giorni felici passati con lui ed ai bei castelli di sogni che avevamo edificati per l'avvenire.
La mia salute ne risentì. Mi rimisi allora al lavoro, per dimenticare il mio dolore ; in quel momento credetti di non potere mai più amare. L'affetto che avevo per il My boyfriend was so deep, pure and holy, that I thought I could never forget. But Providence accommodates our lives much better than we do ourselves, the time away our greatest sorrows and our most fond memories. This love is dead to me now like a sweet dream and always shall remember that I had the courage to engage in those terrible moments, I said to myself constantly, "Pola Negri, your life is completely occupied by work, which leaves no room for vain regrets' . So I went back to the theater with a keener desire to make a name and was at work and found the greatest satisfaction.

First contact with the movies I
I would like very much to find at the bottom of my heart the title of the first film I saw, because I have this film and the unknown artists who interpret it, a real gratitude. At that time I was a student at the Institute of Countess Planten in Warsaw: I'm 15 years old, but already felt the desire to become a star of film art. Actually my interest in cinema began when I saw for the first time a movie of cowboys or a history of Indians, those stories are always so popular that pleased the crowds. But I preferred the theater, which seemed far more important. We must also agree that a decade ago, the cinema had not yet purchased in Europe, a degree of perfection! Poland did not exist. The only films that were presented in Warsaw were Scandinavian or German, interspersed with a few American films that invariably told us the stories of cowboys and Indians. I will never forget what impression exerted upon me the cinema. Nowadays we would consider the production with great disdain, as there appears to be very primitive. For my part, at that time thought that the cowboy. hero of the story, the man was the noblest and most beautiful in the world, and envied the blonde heroine, when his rider saved from the hands of his enemies and held her in his arms. Those
fantastic rides, outdoor life and the intense action of the movie produced una grandissima impressione sul mio spirito, mal preparato a visioni di quella specie. È fu per me la rivelazione che l'America sarebbe stato il mio paese di elezione.
Quando ne avevo la possibilità — cosa per me rara — andavo al cinematografo, ma le insufficienti produzioni scandinave e tedesche non mi interessavano molto. Esse mancavano talmente dell'azione e della spontaneità propria del primo film americano che avevo visto, che mi allontanai a poco, a poco, dallo schermo. Tanto più che l'anno ch'io passai alla « Scuola di Ballo » di Pietrogrado, mi privò di tutti gli spettacoli cinematografici e gli studi al « Conservatorio drammatico » mi tenevano così occupata, che io non avevo affatto tempo to devote to other things.
(continued)