Moving Picture Exhibitors' Association.

Photoplay (Volume 36 – 37 (Jul. - Dec. 1929)) online

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— not by unyielding force, but by scientific

proportioning of superfluous flesh.

Wear it daily , . . wash it daily, if you wish.
Charmosette remains soft and pliable, and has
three times the life of ordinary elastic.

Ask to see this Gossard combined of Charmosette

and lightly boned French batiste. It shows new

waistline effect. Only $10 — but wears ever so long.

THE H. W. GOSSARD CO., Chicago, New York, San Francisco, Dallas, Atlanta, London, Toronto, Sydney, Buenos Aires

Division o/ AMOciatcci Apparct Indiutrfci, Inc.



liiu cLotm

au can nave mote pjccttij cuytiae^. .
lULtrLcuit ^penatrLC| a cen{ mote !


l^eep your clothes looking just like new much
longer . . . then, instead of spending all your
clothes money replacing worn-out things, you can
afford to buy extra clothes!

Take a "tip" from the movies. Wardrobe di-
rectors of the great studios have learned bv
experience how to keep the lovely clothes of the
screen new looking twice as long . . . Without
exception they find — "Clothes keep that exqui-
site, fresh, new look twice as long if always
cleansed in Lux."

Now every great movie studio in Hollywood
insists on Lux.

You, too. can double the life of pretty clothes
. . . and so buy many more clothes without spend-
ing a cent more. Always use pure, safe Lux. Avoid
rubbing with cake soap . . . avoid the harmful
alkali found in so many soaps, whether flakes,
cakes, chips or powder.

angorn suit . . . This lovely stiir, like other stars and
all the big studios, insists upon Lux to keep beauti-
ful clothes "like neiv twice as long!" You. loo,
can keep clothes like new far longer with Lux!

L«ver Bros. Co.
Cambridge, Mafis.


importcil negligees to
cotton house frocks, can
be kept like new so much
longer with Lux," clever
tcomen say. You don't
have to replace worn-outa
so often — so you can af-
ford more pretty clothes.

ADR1.-\N. <o.«/ume direc-
tor for Melro-Coldwyn-
Muyer. discusses a new
costume with Anita Page
. . ."Ife can't afford to risk
using anything but Lux,"
Adrian say s ..." Lux
cleansing keeps clothes
so beautifully neiv."

Li;X IS MADE by a
marvelous special proc-
ess . . . made whiter and
thinner and purer than
ordinary soap . . . that is
why Lux keeps clothes
like new so much longer!

The National Guide to Motion Pictures

[trade uark]

October, 1929

Close-Ups tf//^ Long-Shots

By James R. Quirk

TAKE away our wine and beer.
Darken the movie screen and
mufifle the talkies on Sundays,
if you can. Forbid a man to kiss his
own wife in his own automobile.
Snip all the snap out of motion pic-
tures with censorial shears.

Come on, you reform-mad Southern
bishops and Northern deacons ! Take
away our cigarettes. Make necking
a capital offense. Legislate us into
your own privately owned heaven. You have
made the Spirit of '76 as old-fashioned as
Martha Washington, anyhow.

Go as far as you like —


Be careful how you step on the bunions of a
great public idol. You may wish you'd tickled
the mule's hind leg instead. For instance:

-*- blue-eyed, blond boy for speeding over a
New York bridge the other day. Now he
wishes he hadn't, for the pinchee was Rudy
Yallee, the crooning band-leader who is a
Gotham god and will soon smite the girls from
the screen.

"All the girls are writing to bawl me out for
giving their Rudy a ticket," moans Officer
Olliffe. " My phone rings day and night. My
own girl friends are giving me the air!"

That's what they think of Vallee in New
York. Look out for him when he hits the
screen in a forthcoming film called "The Vaga-
bond Lover." In Rudy, a New England boy,
the blond type comes into its own. He's mur-
derous to the girls. They adore him — mob him

at stage doors. When the men be-
gin making nasty cracks about a
stage or screen actor you can be sure
he's an enormous success among the
women fans. And what New York
men say about the pretty Vallee
would take the kink out of his marcel !

" OO and so is the best composer in
^America for that sort of music,"
said the chief executive of one of the
Hollywood studios during a high-powered con-
ference on a new picture.

"Yes- Yes- Yes- Yes- Yes," came the chorus.
"Then get him," ordered the chief.
Wires to New York, long distance telephones
to the composer's Long Island country house.
This went on for eight weeks.

Then someone found him tapping the piano
in one of the little studio bungalows. He had
been right there, on the payroll, for two months.

A S this is written, The Actors' Equity
■^ ^-attempt to unionize the screen players in
Hollywood has foozled. President Gillmore
has issued a statement saying that Equity's
defeat is due to remarks by Honorary Vice-
President Ethel Barrymore and has retreated to
his New York trenches. Probably this is only an
Armistice. It's been a great war, with much
smoke and screaming, but few dead and dying.
A few bulletins from the war area:
The veteran TuUy Marshall being denounced
as "The Judas of Equity" because he is re-
ported to have said, "I'll follow Equity to the
ends of the earth, but I wouldn't follow Frank
Gillmore (Equity's czar) around the block!"

2 27

Jetta Goudal, the foreign actress who has had
grief getting any work since she won $31,000 in
a suit against Cecil De Mille, being called "The
Joan of Arc of Equity," and shouting, at a pub-
lic meeting:

"As for quitters, as for scabs, I say their


SMALL riots. Suspensions of actors by the
union. Great open air meetings at the
Hollywood Bowl, addressed by Equity leaders.

Conferences between producers and union
officers. Strange sights and sounds for work-
when-you-can Hollywood.

And one wise old man. When the ruckus
began, and shells began falling on friend and
foe, the venerable and revered Robert Edeson
quietly retired to his ranch in Nevada. He has
friends in both camps. There, while men and
women scream and fight, old Bob loafs in the
sun, speculating on the state of his avocado

Traitor? No — just smart!

THIS seems to be what Queen Ethel, of the
great House of Barrymore, thinks of the
talking screen.

In a Hollywood interview, she said: "I
could not endure having these young men in the
studios tell me what to do. My experience is so
much greater than theirs. Therefore I will not
appear in a talkie."

Well, it's an idea. But Queen Ethel should
remember that there is more than one kind of

UNIVERSAL PICTURES paid, it is said,
$75,000 for the screen rights to "All Quiet
on the Western Front." Why not? Isn't it a
best seller? Won't the title pack them in at the
box office?

Then it was discovered that a few slight
changes would have to be made in it. The hero
is not a handsome dog, just a pathetically in-
consequential little German lad.

So, the report comes, the first step is to
select the husky, handsome Norman Kerry for
the role.

NOW all they have to do is to inject a
romance, a heroine, the necessary dash
of sex appeal, a theme song, a few German
villains, a plot or two, and a few aeroplane

Then throw all the poignant and human
episodes out the window, and make another
war story.

Simple, this motion picture business.

I suggest as the title of the theme song,
" Money, come back to me."


TEN long years have passed since "The
Miracle Man" made her a star, but The
Miracle Woman surges right on to fresh fame
and glory.

I'm writing about Betty Compson, the great
picture-saver, the eternal blonde, the ever faith-
ful and the old reliable — the wonder woman of
pictures in 1929.

Have you a puny, weak-kneed little story you
want to pep up and invigorate? Send for

Have you a feeble, experimental troupe of
newcomers that need a good, reliable wheel-
horse to steady them before the camera? Just
give Betty a buzz.

FOR Betty Compson never fails. Ten years
a trouper before the camera, through good
pictures and bad, she has touched nothing she
has failed to adorn. There should be some sort
of a ten year marathon prize for Betty, this year
that marks the tenth anniversary of "The
Miracle Man" that made The Miracle Woman.

Ten years seem only to have ripened Betty
Compson's beauty. Ten years have certainly
matured her talent.

She now reigns supreme as the greatest
trouble-shooter in pictures — the one sure film-
saver, in these days of mad microphones and
madder men.

ECONOMIC note on the talking picture:
Merchants of Temple, Texas, found that
their Saturday night business had gone to pot,
or rather it had moved to Paris, Texas, about an
hour away in a motor car. The motion picture
house in Paris was showing talking and sound
pictures. The home town theater was silent.

Desperate, the local merchants went to the
theater owner and urged him to put in sound
equipment, and when told. that he couldn't
afford it they not only offered to finance him,
but at their own expense rushed him to New
York to avoid delay in getting his house
"wired," as the trade calls it.

One month later all was normal in the Temple
shops. The audience stayed in town to see,
hear and buy.

BY the way, have you seen "The Cock Eyed
World"? No story, just a lot of hilarious
episodes. But I enjoyed it so thoroughly that I
sat through it three times. It busted all the
records of the biggest motion picture theater
in New York sky-high.

And, sh-h-h, it has no theme song. Take
your grouchy friend along.

If that doesn't make him laugh in spite of
himself, take him to a doctor — better still, put
him out of his misery by hitting him over the
head with a chair.

Clara Bow has been engaged many times. The list of loved and left is staggering. Now she

is engaged again, and this time the name is Harry Richman. Clara believes he is the right

man. But is he? Or is he just another playboy?

Ampty Hearted


Lois Shirley

Harry Richman arrived at the psycho-
logical moment in Clara Bow 's life


Someone who would

'F I could only find the right \x
give ME something!"

"I'm unhappy, desolate. My mind goes on even when
"my body sleeps. I've always given. I've had no child-
hood. My mother's. illness. Her horrible death. The demands
that have always, alwaxs been made upon me. But I could be
happy, I believe, if I could find the right man. "

Just a few weeks after Clara Bow made these remarks the
papers announced that she had found the right man. Gay
photographs of the couple showed a smiling, vivacious Clara
and an entranced young man called Harry Richman.

In New York and the other large cities Richman is known.
The owner of a night club. Radio and phonograph singer.
Co-respondent in the Bill Hayworth divorce. One time
rumored engaged to Ann Pennington. And again to Lily

But Clara is world famous. Clara is known wherever motion
pictures are shown. She typifies every woman's suppressed
desire. And her amours are discussed as fluently in Medicine
Hat as they are in Beverly Hills.

Well, here is Clara with a new boy friend. There have
already been \'ictor Fleming, Gary Cooper, Gilbert Roland,
the MuUer brothers, Morley Drury and a number of others.
Now it's Harry Richman. Heigh-ho, Clara has another boy

But Clara needs more than a bo)' friend. She needs, in her
own words, a man "who can give ME something."

Clara running restless fingers through her flame colored hair
(You've never seen such hair. It's red. Just red red). Miserable
as a caged tigress. Discontented as a cowboy on Broadway.

Unhappy Clara. Clara who has given too much of herself to
her father, to her friends and to the camera she serves.

On the little table by her bed stand rows of bottles of sed-
atives put there to lull her active, restless, undisciplined brain.
Maybe Clara has worked too hard. jNIaybe she has lived too
hard. She thinks too much, undoubtedly, yet she knows
nothing actually of the art of thinking. She strives for some
vague, far off tftopia where her mind may be lulled and her
tired little body may rest.

SHE wants much in a strange, groping fashion. Some indefin-
able Eros, perhaps. Cheated by life, a slave to work, a slave
to desire, she knows that there is more to fife than work and
play, but she doesn't know what it is. Clara has dissipated
her energies, given too much.

Clara Bow is not wealthy. Her salary has never been what
her magnetism at the box ofiice warranted. She now earns
twenty-five hundred dollars a week while other stars, not half
as popular as she, make from five to ten thousand. Of material
things she wants very little. A slight measure of happiness is
all she wants, so she says.

"I always want to cry," she said (her hands never still,
her lean sen;iti\is fingers running through her hair). "I could
cry any minute. It all seems so silh'. I don't want much —
God knows! I don't spend anything on my clothes. I haven't
any imposing mansions. Just a simple house in Beverly Hills
and a little shack at Malibou. I can take my friends down
there. I take the people I like. E.xtra girls. Prop boys. Kids
I used to know. They're regular.

"Everybody criticizes me for [please turn to p.age 128]


y^hey Must Suffer

Esther Ralston peddles her way to slenderness
on a stationary bicycle, but Carol Lombard
prefers to have Sylvia, the famed masseuse,
pinch her to perfection. Whether you take your
punishment sitting up or lying down matters
not, so long as the fat goes

Sylvia can put you to sleep quicker than a shot
of Hollywood gin. She works first on the
nerves, and after that tackles the fatty tissue.
But you can see by Alice White's face that it's
no laughing matter. Sylvia's deft fingers
mean business and no foolin' !


It takes twenty-four
hours a day — every day
— to keep that school-
girl complexion from
growing up!

To you and me the word conjures up a delightful
picture of a slim, lovely girl, in an organdie frock and
a picture hat, seated in a sunlit garden.

But to the cinema stars who have capitalized their charms
it means vital hours slashed out of their lives, hours of
torture, hours of both mental and physical agony. Long,
important hours!

Beauty is a jealous, demanding goddess with her three
handmaidens, iloney, Courage and Time.

Shining, wavy hair, well kept hands with slim, long
fingernails, trim ankles, well shod feet, rounded, firm cheeks,
lithe bodies, bright expressions, long lashes, eyebrows like
swallows' wings. And more. Much, much more. To these
the stars are slaves. It is all for the sake of beauty. You
see the finished result. The stars must consider every
minute detail.

You see the stars on the screen. Lovely, charming,
gracious, beautiful. But how do they get that way? How
do they remain beautiful? They give to the goddess days
of their lives, thousands of dollars of their income and rare,
fine courage, worthy of a better cause.

Lack lustre eyes, a lumpy figure, sagging face muscles
and tiny mouth wrinkles are the frightful gargoyles that
haunt their dreams.

Beauty! The stars must hate the very word.

Beauty! Before the camera, dining in public, making

To Be Beautiful


Katherine Albert

David Mir has installed this complicated elec-
tric facial machine in his Hollywood shop.
Here you see Mr. Mir, Julia Dorrance and
Gesta Berg, Mir's partner, making lovely Edna
Murphy lovelier than ever

Make-up is of vital importance. Cecil Holland,
Metro-Goldwyn-Mayer makeup expert, is work-
ing on Dorothy Sebastian, blending her under-
eye shading into the rest of her complexion with
a chamois pencil

YOU see the stars on the screen — charm-
ing, gracious, beautiful. But how do
they get that way? How do they remain

The daily task of keeping beautiful in
Hollywood is never finished. And for each
advancing year, beauty demands more time,
more courage and more money.

Any woman can be beautiful if she has
these three essentials — money, courage, and
time. They have the first two. They make
the third.

personal appearances, even chatting with their friends, the
stars must be beautiful — ever beautiful.

A round, firm face is essential, since the camera really lies.
It exaggerates. The average close-up magnifies the subject
fifty times. That means that every tiny wrinkle appears
on the screen fifty times deeper than it is!

Do the stars ever long to lead normal lives? Do they ever
yearn to relax, to become just ordinary plain women for a
week? But one week of carelessness might leave a brilliant
career a dull, ugly, blighted thing.

Massages, facials, diets, manicures, marcels. Ever demand-
ing. Ever constant. A star must be lovely every day, every
hour. She must face the continual grind and give to it money,
courage and time. And, by the way, any woman can be beautiful
if she has these three essentials.

Alice White took a six weeks' course of massages from the

You don't have to bake for hours in the sun to
lose that old-fashioned lily white skin. Raquel
Torres covers her skin with sun-tan makeup
before going for a swim in the Pacific. But even
this takes time


There can be no stop-over in the search


Esther Ralston considers crew training an invaluable asset, figurative-
ly speaking. No gym is complete without a rowing machine. And
the chic costume does a lot for the mental attitude! *

famous Sylvia. A treatment a day. A two-hour treatment.
Ten dollars a massage. And she had to grin and bear it when
the tlesh was literally pinched from her body. The hours she
spent were taken from her recreation time because she was
working at the studio from eight in the morning until seven
or eight at night.

Money, courage and time.

Lila Lee, in an attempt to become modishly tanned, was
sun-burned and blistered instead. She had to work the ne.xt
da\'. Make-up could not cover up the blisters, so the skin was
literally peeled off her face, leaving it raw and tender.

OXE lovely star has crooked teeth that cannot be perma-
nently straightened by a dentist. Before she appears before
the camera she wears a brace back of them all night. Few
hardy men would be courageous enough to suffer the torture
of it.

Another w'orld famous star had a scar on her left cheek.
Every scene had to be played so that the scar would not show.
She was constantl}' on the alert, ever watchful to conce;il the

A certain beauty is lovely in spite of a slight cast in one
eye. She must never relax her eyes except in sleep. She has
learned the trick of keeping them straight by thinking of them
every waking second! Literally!

Another favorite has thick ankles. She wears heavy leather
braces while she is asleep.

It is a constant source of mental and physical worr>' and work.

The stars actually average three hours a day for beauty's
sake. I say average, for some days they devote union hours
to their cause. Three hours a day is a conservative estimate.
But three hours a day is about six weeks out of the year. Six
weeks a year devoted to the grim goddess of charm!

It is true that many society women spend an equal amount
of time in order to appear w"eU groomed. But these women
have nothing else to do. The picture star must steal her
beauty moments away from a day crowded with tedious work
on the sets.

The expense is impossible to estimate. It runs into thou-
sands of dollars. Even the ordinary treatments in Hollywood
are costly. A marcel or a finger wave is a dollar and a half or
two-fifty with a shampoo. And two of these a week are neces-
sary. Manicures are a dollar at the shops, although most of
the picture girls have their own manicurists who come to

their homes. A manicure a day
is essential. An eyebrow pluck
is a dollar. Ordinary facials are
five dollars. Steam baths and
mud packs run from ten to fifteen
dollars. And this is only the
everyday grind of beauty. This
does not include the "special"

David Mir, whose mother was
the cousin of the ill-fated Rus-
sian Empress, has grown tired of
acting and opened a shop in
Hollywood that specializes in elec-
tric facials that do away with the
need of the plastic surgeon's
knife. Most of the stars in his
care take three treatments a
week. They cost ten dollars a

Hollywood is a small town with
its lazy boulevards and its low-
flung buildings open to the sun,
but it supports, and supports
well, one hundred and twenty-,
five beauty parlors!

The plastic surgeons are as
thick as their operations are pain-
ful. The world knows what
Molly O'Day suffered from an
operation that slashes off pounds
of flesh. It is no secret that Helen
Ferguson, Ruth Taylor, Adamae
Vaughan, Mrs. Sydney Chaplin,
JMrs. Tom Mix and others have had their noses altered.

But a plastic operation is done once and is over. Torturous
at the time, often fringing on distressing after eft'ects, it is,
nevertheless, something that may be done and completed.
The daily task of keeping beautiful in Hollywood is never
finished. ,\nd for each advancing year beauty demands more
time, more courage and more money.

After a survev of all the studios w-hich included more than

The business of acquiring a tan should be gone
about carefully and systematically, according
to Evelyn Brent. Cover the skin with a film of
olive oil and expose for only a few minutes at

for beauty. Every pause means a wrinkle

Mary Brian brings back the sparkle to tired eyes by applying cotton moistened with witch hazel and resting for
fifteen minutes. She follows this with a gentle massage and rotary exercises

a hundred and fifty of the prominent women stars I discovered
that eighty-eight "touch up" their hair. These are mostly
blondes. True, there are natural blondes in Hollywood as
there are in Keokuk but their lovely tresses do not register
with the fiendish camera. There is too much red in a blonde's
hair. The camera decides to make red go black, therefore
golden hair must be an almost white gold to look as beautiful
as it should on the screen.

If you have ever just once "touched up" your hair a bit
you know what the continual keeping at it means. But you
may let the roots grow out half an inch or so without bothering.
Not a picture star! Every week demands an e.vpert coiffeur
with his dyes and tiny brushes.

Comparatively few of the stars have permanent waves
(there are, of course, ex'ceptions) but they don't know when
they might be called upon to play a role that requires straight
hair, so they have a daily marcel instead of a permanent.
The constant use of the iron
makes regidar hot oil treatments

I could go on for pages about
the little things, the little con-
stant gestures that you and I do
bu t that you and I may stop doing
whenever we choose. A star
can't stop. When she gives up
minute personal care she might
as well tear up her contract.

IN Hollywood there are famous
specialists whose duty it is
to give treatments almost prohi-
bitive to the average person.

I have mentioned Sylvia Ul-
beck before. You remember her
famous court entanglement with
Mae Murray. And I'll wager
that without Sylvia, Mae would
not have as beautiful a figure as
now characterizes her.

Sjdvia is at present under con-
tract to Pathe. Each week the
same fingers that pinch off flesh
tear open a pay envelope which
contains a check for two hundred
and fifty dollars and she still has
the right to take outside patients.

Although a Scandinavian,
Sylvia is no ordinary Swedish
masseuse. She has taken de-
grees abroad and has worked
with world famous doctors. She
is young and attractive, al-

Anita Page keeps her skin fresh and
youthful by applying ice daily. Here
she shows you the best way to smooth
out the wrinkles and get rid of that
tired feeling

though the mother of a twenty-five year old boy. Her face is
vivacious and her fingers are magic. The greatest stars in the
business have known her electric touch.

Among the women (and she takes men, too) there are
Norma Shearer, Mae Murray, Ina Claire, Alice White, Colleen
Moore, Ruth Chatterton, Norma Talmadge, Gloria Swanson,
Sue Carol, Marie Dressier, Laura Hope Crews, Hedda Hopper,
\'irginia Valli, Laura La Plante, Anna Q. Nilsson, Carol Lom-
bard and Mary Duncan. And every star sings her praises.

Her office at Pathe is filled with flowers. Photographs with
enthusiastic messages scrawled across them paper her walls,
and by the time you read this Sylvia will be in Europe devoting

Online LibraryMoving Picture Exhibitors' AssociationPhotoplay (Volume 36 – 37 (Jul. - Dec. 1929)) → online text (page 76 of 145)